Word: marcelling
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Though best known for such flamboyant experiments as Marcel Duchamp's famed Nude Descending a Staircase, the hit of Manhattan's 1913 Armory Show, all three brothers started out dead serious about their art, and it was art that became their common bond. Recalls Marcel: "We had always in our head the famous adage, 'stupid as a painter.' We tried to introduce some brains into the problem...
Virtue & Pornography. The producer of Vienna's Annie, Austrian-born U.S. Citizen Marcel Prawy, had already successfully staged Kiss Me, Kate in Vienna (TIME, March 5, 1956). His announcement that he was bringing Annie Oakley and the Wild West to the Danube shore outraged critics. They rushed fiercely to defend the virtue of their Merry Widows, the dignity of their Countess Maritzas and the artistic solvency of their Gypsy Barons. American musicals, said critics, were "pornographic" and not fit for "Kulturstaaten." Furthermore, the government-subsidized Volksoper should be playing native Austrian composers. (Annie's defenders pointed out that...
Such a person was Rene LaGuen (Marcel Mouloudji). He is discovered in an act of apparent heroism by a member of the Resistance, Sautier. Later this man betrays the Resistance and LeGuen is ordered to kill him, which he does with pleasure if not comprehension. Long afterwards, as LeGuen awaits execution for the continuence of these indulgences in times of peace, a former member of the Gestapo is accused of Sautier's murder. LeGuen, who had never been caught, is convinced to confess to this murder, too, so that he can get another trial. To preserve her husband's memory...
...acting, however, is superb. As Rene LaGuen, the sick, bewildered half-idiot, Marcel Mouloudji is unforgettable. With his raggedy walk and shapeless body, he looks often like a teddy bear but seems, at times, a man possessed. LeGuen's cellmates, Raymond Pelligrin as Gino and Antoine Balpetre as Dr. Dutoit, the one a young Corsican feudist and the other a resigned old man, make proud and individualistic people for whom legal 'responsibility' can only be irrelevant. It merely intensifies the private obligation to die well. As Rene's kid brother, Georges Pouliouly sometimes seems less bewildered than still...
...recite poetry and display their art in its purest form, without scenery, costumes or an imposing vehicle. They ran the gamut from the most subtle verbal effects to no words at all. Barrault's final pantomimes were the epitome of freedom within a highly stylized form. Compared to Marcel Marceau his mime was less delicate and less detailed but it had energy, spontaneity and excitement that Marceau cannot equal. The mimes conveyed best of all Barrault's idea of theater as creative play, the purpose of which is to always keep men young in spirit. As he said in Holyoke...