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Word: milland (lookup in dictionary) (lookup stats)
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...Milland has the central role and is on the screen throughout the film. His actions did not seem exaggerated as one might expect in a silent film: the only aid to action was in the music. Written by Herschel Gilbert, the score was closely correlated to the goings on and seldom obtrusive...

Author: By Herennt S. Meykes, | Title: The Thief | 12/10/1952 | See Source »

...story was simple and good. Although there are a few unanswered questions why does a top nuclear physicist cooperate with a spy ring, how is the ring actually broken--it is generally absorbing. This is due in part, I suppose, to the direction of Russell Rouse, but Milland himself deserves a good deal of credit. His expressions are easy to read and to interpret, and he never drops out of character...

Author: By Herennt S. Meykes, | Title: The Thief | 12/10/1952 | See Source »

Hollywood Star Playhouse (Sun. 5 p.m., NBC). Nothing to Lose, with Claire Trevor, Ray Milland...

Author: /time Magazine | Title: RADIO: Program 'Preview, Oct. 20, 1952 | 10/20/1952 | See Source »

...thousand words: it is a sound film in which no one ever speaks. The movie manages to get along quite well without dialogue because it is an uncomplicated chase thriller told with the camera on a simple physical and psychological level. The thief is a nuclear physicist (Ray Milland) employed by the U.S. Atomic Energy Commission, where he is microfilming top secret documents for a foreign spy ring. When the FBI gets on his trail, he flees to New York, kills a Government agent in a chase to the top of the Empire State Building, and is about to escape...

Author: /time Magazine | Title: Cinema: The New Pictures, Oct. 13, 1952 | 10/13/1952 | See Source »

...spies, more or less naturally, operate behind a wall of silence: they communicate with each other by telephonic signals and by notes written on the back of cigarette wrappers. The only time Milland himself opens his mouth is when he breaks down and sobs during the strain of the chase. But though the picture is wordless, it is not actually silent. It has a rich, sometimes overemphatic musical score. And it has all sorts of literal sound effects: the click of a microfilm camera, the rustle of papers, the jangle of telephones, the blare of radios, opening & closing doors. Unfortunately...

Author: /time Magazine | Title: Cinema: The New Pictures, Oct. 13, 1952 | 10/13/1952 | See Source »

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