Word: man
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Dates: during 1940-1949
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...reason for the zither dither: the catchy, twangy background music that British Cinema Director Carol Reed (Odd Man Out, The Fallen Idol) had worked into his new smash hit, The Third Man. The picture demanded music appropriate to post-World War II Vienna, but Director Reed had made up his mind to avoid schmalzy, heavily orchestrated waltzes. In Vienna one night Reed listened to a wine-garden zitherist named Anton Karas, was fascinated by the jangling melancholy of his music...
...Pennsylvania-bred Trumpeter Vaughn Monroe, fronting for a five-piece Boston society combo, was about as low on the bandleaders' register as a man could get. Now & then he would try to jolt his cocktail-and coming-out party patrons from their fox trot and rumba rut by booming Ave Maria or Glory Road in the aggressive baritone he was training for opera in his spare time. But mostly he gave them "what was called for-a hundred and twenty-eight beats to the minute-the debutante stuff and the businessman's bounce...
...evening last week, a towering, bushy-haired young man strode across the stage of Chicago's Orchestra Hall, took his place on the conductor's stand. The applause was cordially perfunctory. But by the time he had led the Chicago Symphony Orchestra through the bouncing overture to Bedrich Smetana's Bartered Bride, Mozart's Symphony No. 38 (Prague) and Leos Janacek's bone-rattling Taras Bulba, Chicagoans were clapping hard. Thirty-five-year-old Conductor Rafael Kubelik, son of the late great Czech Violinist Jan Kubelik, they decided, was a credit to his father...
...Father (by August Strindberg; English version by Robert L. Joseph; produced by Richard W. Krakeur & Mr. Joseph, in association with Harry Brandt) is one of the most vitriolic plays ever written. A man who suffered from, quarreled with and hated women because he loved them, who felt perpetually persecuted and all but went mad, Swedish Playwright Strindberg wrote The Father as a testimonial to his first marriage. Conceived in loathing and dedicated to the proposition that all women are created evil, The Father, first produced in 1887, inspired a new theatrical naturalism...
...final ruse is to obsess him with the idea that he is not the father of their child. Strindberg is himself obsessed here, seeing all villainy in the world's wives, as the mad Lear saw it in the world's daughters. But if an unbalanced man, Strindberg was a far from impotent artist: he punctuated the play with flashes of insight and jabs of feeling...