Word: m-g-m
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Easy to Love (M-G-M), starring Esther Williams and Van Johnson, is not to be confused with an earlier picture of almost the same name, Easy to Wed, and another of almost the same plot, The Duchess of Idaho. In the first case, the difference between love and marriage should help in telling the pictures apart; in the second, the only real difference is that Idaho was shot in Sun Valley and Love in Florida's Cypress Gardens. All that matters, anyway, is that Mermaid Williams again wears a lockerful of sensational new bathing suits...
Escape from Fort Bravo (M-G-M), riding hard on the hoofbeats of Shane and High Noon, should prove to the movie public that the old mare is what she used to be-and maybe more. Director John Sturges' Bravo is in some ways the best western since 1943's memorable Ox-Bow Incident...
...lndy: Istar (Westminster Symphony of London conducted by Anatole Fistoulari; M-G-M). A symphonic striptease, this romantic score tells the story of a Babylonian maiden's visit to the house of death. As she passes each of its! successive gates, she is stripped of a piece of clothing until she stands naked at the" seventh. Suitably enough, the musical variations are stated in reverse, starting with the most complicated; at the end, the naked theme is heard for the first time...
Take the High Ground (M-G-M), an Ansco Color hymn to the glories of the Army's basic training, was filmed to the tune of a flag-waving theme song (Take the high ground and hold it! Tho' you face eternity . . .). The raw recruits who are to be turned into soldiers include such familiar characters as the bragging Texan, the brash college boy, the sensitive Negro and the weakling. Happily, the picture spares moviegoers another movie version of the Brooklynite. Richard Widmark barks his way through the role of the tough sergeant, and a curious...
...contest sponsored by the Glee Club among native composers. They are saturated with harmonies which must have originated in a Manila barbershop. There are some interesting effects when the lower voices chant monosyllables against a tenor melody, but the overall result often seemed too much like an M-G-M sound track. Choruses by Gilbert and Sullivan showed the Glee Club to best advantage. The all-important diction was perfectly clear and the piano accompaniment of Lawrence Berman '56 and William Lindahl '55 added to the zest of the singing...