Word: liliom
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...sets to music the traditional Continental world of the small, bedizened, sad-eyed circus troupe-a world not of popcorn but of pony ballets, with a touch of childlike innocence redeeming its tawdriness. Carnival! is, in fact, out of the movie Lili, with a faint echo or two of Liliom; it celebrates a milieu whose romantic lure is born of its realistic hardships, a milieu almost symbolically touching for its way of suggesting the loneliness in crowds, the heartbreak in gaiety, and the homelessness of perky circus wagons...
Like Cole Porter, he could dip into a source play, borrow a line and spin a lyric. In Ferenc Molnar's Liliom, the heroine wonders aloud what it would be like "if I loved you," then pauses to reflect silently. Adapting the play as Carousel, Hammerstein and Rodgers filled the pause with unadorned grace: If I loved...
Carousel (20th Century-Fox). In the years between the wars, European audiences licked their lips over Liliom, the play by Ferenc Molnar. What they liked about its flavor was the salt. U.S. theater goers did the same over Carousel, the musical that Richard Rodgers and Oscar Hammerstein made from the play in 1945, but what they liked about its flavor was the sugar-the pretty pink icing of the plot, and most of all the sunny flowing honey of the lovely Rodgers tunes. The melodies have all their clovered freshness still, but if film fans lick their lips over anything...
Died. Ferenc Molnar, 74, playwright (The Swan, Liliom, The Guardsman, The Play's The Thing, and 38 others), novelist and raconteur; in Manhattan. A practicing newsman in his native Budapest for 22 years (until 1918), chipper, monocled Molnar Was sometimes called the "Hungarian Moliere." A Jew, he fled the Nazis in 1940, became a U.S. citizen. Recently, Communist-dominated Hungary labeled him a "western imperialist," banned his books, although Molnar avoided social and political comment and strove only for sophisticated entertainment. The successful playwright, he once said, must do "some swindling . . . Sometimes it is just cheating your conscience...
Simonson has modified Jones' emphasis on the designer's personality, but has generally remained true to the concept of interpretive, selective realism. A superb example of this is his setting for the Theatre Guild's "Liliom" in 1921. He filled the stage with patterns of light, form, and color, yet the treatment remained realistic...