Word: manly
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Dates: during 1950-1959
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...Junk Pile makes dramatic use of a favorite Koerner device: psychological perspective. The Negro workman looms twice the size of the Plymouth in the foreground, simply because he is more important. In fact, Koern says, he represents a god of darkness and regeneration, just as the fat man sunning his face with the aid of a metal reflector is a disguised god of light and life. The Plymouth will eventually join the junk pile, and, remelted, may yet become a bridge. The setting is the North Side approach to Pittsburg's Manchester Bridge, leading to the Golden Triangle...
...Alley, Koerner says, "makes woman the real heroine of existence; man only pulls the ropes. But here we have the wrong scenery for the right occasion, for the great human experience of love and fruition...
...wealth of sentiment, there is little sentimental about Koerner, and the America he pictures in kaleidoscopic fashion is more disturbing, all in all, than delightful. Future generations may well debate how much of this disturbing quality was in the man and how much in the nation...
...struggling with her dessert. "I can't see," she complained huskily as the melting ice cream slithered from her spoon. "Well, you can feel, can't you?" said her escort. Just within earshot, a waitress hefted her tray with barely controlled anger at the callous young man...
...wife in a George Jessel-produced turkey called Tonight We Sing. She played a Roman lady in Demetrius and the Gladiators, a Civil War widow, a carnival aerialist, a gangster's daughter and an interminable list of Indian girls. For one movie (The Last Frontier), with Robert (Music Man) Preston, Anne even became a blonde...