Word: mellowes
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Dates: during 1950-1959
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...lyrics by James Hilton, Jerome Lawrence and Robert E. Lee) is not what it was under Hilton management. It was obviously tempting to make a musical of James Hilton's famous story about plane-wrecked Occidentals discovering an Asian Utopia where life is serene, desires are moderate, people mellow. But there is possibly something more than just comic about using a Broadway musical to portray serenity and moderation. There is something truly misguided: a Broadway musical is one of the very few places where a controlled frenzy and a tasteful immoderacy seem in order...
...Amazing Jean "Toots" Thielemans (Columbia). Jazz on the harmonica. Belgian Thielemans, who learned his trade despite the Nazi jazz ban, now has the lively support of several mellow combos. He swings high, free and with surprising feeling, not to mention expert marksmanship. He cannot, however, resist an occasional gypsy switch...
...Professor Mills uncovers some pretty startling social phenomena. The reader will hear that the rich have more money than other people and so can afford better schools, longer vacations and more luxury all around. Old money, what the sociologist in John Marquand's Point of No Return called "mellow wampum," isn't good because it's too snobbish and irresponsible. New money isn't good because it has to be acquired by means that would horrify a hard-working sociologist. Mills does not say how much money a man may accumulate and still stay morally decent...
...turned out to be a 75-minute work of massive and somber effect, full of vocal know-how and modern coloration, but weak in dramatic contrast. In most of the first act Joan prepares for her fatal final appearance before her inquisitors, and a kindly priest beseeches her in mellow song to temper her heresy. Its moment of pathos comes near act's end, as Joan refuses to exchange her male clothes for a dress, and the episode closes with music of real poignance. Act II moves more swiftly as Joan clashes violently with Bishop Pierre Cauchon, the only...
...polished man of the world in Turgenev happily never ossified his pure, wistful sensibility. His insight is acute, without blind spots, but his manner is mellow, without rough spots. In A Month in the Country he exhibits egotism in a slightly golden light, frivolity with a kind of silvery tinkle. He is neither too soft, too hard, nor too overbred: he will throw in a joyfully bad-mannered, sharp-tongued doctor, played with slapping gusto by Luther Adler, and in fine contrast to the superbly projected Natalia of Uta Hagen...