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Cinemactress Marilyn Monroe demonstrated that whether ambling down a street or lying flat on her back, she is bound to cause talk. It happened when Marilyn, normally in admirable shape, stayed away from the London set of The Sleeping Prince for a few days and word got around that a gynecologist had gone to see her. Instantaneously, England's press corps, abetted by its American peers, jumped to the conclusion that Marilyn was expecting a baby. Not so. Racing back to his bride from a brief visit to the U.S., Playwright Arthur Miller pooh-poohed the baby talk. "Absolute...

Author: /time Magazine | Title: People, Sep. 17, 1956 | 9/17/1956 | See Source »

...Stop. Don Murray, ropes, brands and corrals expert Comedienne Marilyn Monroe in a rowdy version of William Inge's Broadway hit (TIME, Sept...

Author: /time Magazine | Title: Cinema: CURRENT & CHOICE, Sep. 10, 1956 | 9/10/1956 | See Source »

Murray's courtship has all the sublety of a banzai charge. On the morning of the rodeo he drags a tousled-headed, sleepy-eyed Marilyn from her bed and into the parade; while he manhandles bulls and heifers, she cowers limply in the stands. When she makes a belated dash for freedom, he lassoes her off the Los Angeles bus and bundles her onto one bound for Montana and his isolated ranch...

Author: /time Magazine | Title: Cinema: The New Pictures, Sep. 3, 1956 | 9/3/1956 | See Source »

Snowbound at a rural bus stop, Marilyn continues her feeble efforts to escape. When fatherly Arthur O'Connell cannot put a snaffle on his coltish pal, the muscular bus driver (Robert Bray) finally takes Murray outside and gives him the larruping he has been asking for. The fight is the film's catalyst. From it, Murray learns that a man has not always "gotta right to the things he loves," while Marilyn discovers, to her surprise, that his ear-splitting exuberance is just a protective screen around a small...

Author: /time Magazine | Title: Cinema: The New Pictures, Sep. 3, 1956 | 9/3/1956 | See Source »

Only at the very end of the film does Director Joshua Logan's hand lose its expert competence: in their reconciliation, Murray and Marilyn are allowed to chew a bit too much scenery, and the CinemaScope closeups are so brobdingnagian that the pores on the actor's face stand out like craters on the moon...

Author: /time Magazine | Title: Cinema: The New Pictures, Sep. 3, 1956 | 9/3/1956 | See Source »

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