Word: kreuger
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...Hardy Kreuger is competent as the young professor, but severely limited by the narrowness of colloquial Hamlets, who, it seems, are not permitted the exuberant swings of mood of their renaissance ancestors. Director Kautner is a victim of the modern fallacy that complicated people are incapable of being drab and shallow, and his Hamlet--alas for poor Kreuger--is a predictably intricate Harvard Square neurotic...
...vast, decrepit railroad system. He opened a Wall Street brokerage house, made a fortune and lost it in the 1929 crash. The Polish government called him in to plan a currency reform it never carried out. The Swedish government appointed Monnet one of the liquidators of the complex, bankrupt Kreuger match empire...
...plane on take-offs and landings is an old technique, but few wings have ever had as many appendages as are planned for the 727. As the swift airliner slows for landing, its thin, swept-back wings will grow like opening umbrellas. On their leading edges small "Kreuger flaps" will tilt outward, making the wing effectively thicker and giving it extra lift. Simultaneously, a strange structure will slide out of the wing's trailing edge. Segmented flaps will move backward and downward, deflecting the air stream sharply and adding still more lift. Filling the angle between wing and fuselage...
Mask of Youth. Dulles went back to Sullivan & Cromwell, began a brilliant advance through major international assignments: he was counsel for a group of U.S. bondholders in the collapse of the Kreuger & Toll Swedish match trust, handled legal work on the $125 million J. P. Morgan & Co. loan to defeated Germany to help pay reparations. At 38 he became Sullivan & Cromwell's directing partner. It was then, according to one friend, that "young Foster adopted that dour expression, partly out of respect for the old fossils of 50 or 60 with whom he had to deal and partly...
...evening, except for certain beautiful erotic-comic passages, are harder to pin-point. The play is based on a group of Finnish stories, and it manages to achieve a vaguely Finnish atmosphere: bracing and sparse. The series of unpretentious, easily-changeable settings (designed by Robert Skinner and Lorna Kreuger) have a good deal to do with this; the backdrops for successive scenes are frankly mounted on a large picture frame, and the effect is never more Brechtian than when substantial sections look as if they were made out of old packing-crates. The folkish songs composed (or, sometimes, borrowed...