Search Details

Word: mann (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
Sort By: most recent first (reverse)


Usage:

George V. Mann, assistant professor of Nutrition, and Roy O. Greep, professor of Dental Science, will also speak...

Author: NO WRITER ATTRIBUTED | Title: 'Medicine' Topic For Career Talk | 3/10/1953 | See Source »

...Naked Spur ambitiously tries to dig into the theme of human greed, but it is neither a Greed nor a Treasure of the Sierra Madre. Nonetheless, Director Anthony (Bend of the River) Mann has richly fleshed out the picture with the red meat of action. Shot in the Colorado wastelands, the plot is unfolded almost entirely with the camera rather than with words. A striking exercise in violence, it is a western with real form, rhythm and authentic style. Best sequence: a three-way shooting match between Ryan, Stewart and Meeker up & down a cliff jutting over a raging, impassable...

Author: /time Magazine | Title: Cinema: The New Pictures, Feb. 2, 1953 | 2/2/1953 | See Source »

Night Entrance. In Scranton, Pa., after being turned away from a saloon that was closed for the night, Francis J. Mann got in by ramming it twice with his car, thus demolishing 1) the front door, 2) a clutch of cuspidors, 3) half...

Author: /time Magazine | Title: Miscellany, Jan. 19, 1953 | 1/19/1953 | See Source »

...production is not quite all of a piece. Thirteen-year-old Iris Mann (The Innocents) plays the brat with remarkable skill, and more convincingly than brilliantly stagy Florence McGee, a grownup, did in 1934. And, as in 1934, Katherine Emmet is impressive as the grandmother. As the schoolmistresses, however, Kim Hunter and-despite very good moments-Patricia Neal display a certain lack of shading in their roles and of full impact in certain of their scenes. But if such limitations stress how much the acting can mean to a play, the whole evening proves how much a good play...

Author: /time Magazine | Title: Music: Old Play in Manhattan, Dec. 29, 1952 | 12/29/1952 | See Source »

Like William Inge's 1950 play, which Daniel Mann (who also directed the stage version) has carefully and faithfully transferred to the screen, the picture skirts the chaotic core of its subject, substituting pity for penetration, sympathy for real insight. The film also blunts some of the drama's edges (e.g., the seduction of the college student) because of the requirements of screen censorship. But the movie remains a generally honest and affecting examination of a marriage dying piecemeal from a sort of emotional anemia. The picture is at its best when it owes least to the stage...

Author: /time Magazine | Title: Cinema: The New Pictures, Dec. 29, 1952 | 12/29/1952 | See Source »

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