Word: marilyns
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...tore the first three pair of fishnet stockings I put on," said Namath. He plays Josephine, the saxophone player who poses as a woman in an all-girl band to avoid the Mob and falls in love with Sugar Kane, an all-woman girl played on film by Marilyn Monroe. The show has been doing well, but Namath will pass on a longer run. Come the end of this month, he pledges, "it will be out of pantyhose, into football socks." Wasting no time, on the morning after his closing performance, Namath will be in Connecticut to open a youngsters...
Gannett did not only look at the academic reputations of the four schools competing for the grant, said Marilyn A. Stein, vice president of communications for the foundation, which was founded to promote journalism education...
Each of them was the Marilyn Monroe of her day, so Photographer Richard Avedon was assigned to shoot the real Marilyn posing as Theda Bara, Clara Bow, Marlene Dietrich, Jean Harlow and Lillian Russell for a 1958 spread in LIFE. Later, Avedon mislaid the negatives. Then, last December, as he was unpacking books in the library of his new home at Montauk, N.Y., out plopped the photos. He was not so fond of the Dietrich on second viewing, but the four others still charmed him, and he is issuing them as posters at $100 a set ($200 signed). The pictures...
This would merely be the latest spasm of cannibal chic-the recycling of pop-culture artifacts that produces Top 40 homages to the Three Stooges and drag queens in Marilyn Monroe sequins-if it were not for a more significant revival. Five Hitchcock films are back where they belong, in the movie theaters, after 20 years in distribution limbo. Constituting the best and the least of Hitchcock's work during his most productive decade (1948-58), the "forbidden five" are once again demonstrating their director's box-office magnetism. Rear Window (1954), the first of the quintet...
...these emotionally rich roles, Calvin Levels and Marilyn Rockafellow, under Elinor Renfield's forcefully realistic, behaviorally sensitive direction, are at once strong and subtle. They are so good, in fact, that they point up the superficiality of the out-of-school lives the playwright has concocted for them. They seem to have been plucked out of sociology texts rather than absorbed from life, expanding the play's length without usefully expanding our understanding of its people. Nonetheless, the heart of the play is sound, and its beat is worth listening...