Word: mlle
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Dates: during 1940-1949
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Each Saturday and Sunday for the past three months, a little procession has arrived punctually at 6:30 p.m. at RCA Victor's midtown Manhattan recording studios. The routine never varies. The youngest, Mlle. Denise Restout, goes straight to the harpsichord, yanks open her tool kit, and starts tuning. The huskiest, Mlle. Elsa Schunicke, carries the pillows and the hamper, loaded with sandwiches, a vacuum jug of coffee, and a supply of specially blended horehound drops. Then, her hands folded before her, and her craggy features blissfully composed, Mme. Wanda Landowska herself floats in like a tiny wraith, nods...
Among the exhibits were a couple of canvases as sharp and literal as snapshots made in bright sunlight. The curious thing was that Bérard had painted them without models, purely from imagination. When he used a model, as in his portrait of a Parisian torch singer, Mlle. Damia, the literalness disappeared; Mlle. Damia was waxy, unsmiling, delicately pushed out of shape. A few months before he died, Bérard had portrayed himself sitting like a somewhat damp but proud Bacchus on a beach. The painting conveyed the subtlety of his seemingly careless draftsmanship and the atmospheric shimmer...
...will be difficult to forget the expression on Mlle. Noro's face when the blind girl returns home from the hospital with her vision restored. It is the most emotional scene this reviewer can recall having seen in a motion-picture. It reaches its peak when the wife introduces herself to the girl, her unwilling rival, with the quite words: "I'm Amelie...
This French-made film version of an André Gide story, aimed at grown-up audiences, has so much more integrity and artistry than the run of movies that some of its admirers may be blind to its defects. It is superbly performed; talented and beautiful Mlle. Morgan has a chance to bloom again after an arid period in Hollywood. And the story is drawn slowly out of its characters with a patient indirection that piles up considerable emotional power without ever losing its sensitive touch...
...Cocteau has placed his favorite actor, Jean Marais. Though probably not a very good actor, he serves Cocteau's requirements well enough: he is beautiful, dashing and ethereal. Nathalie (Iseult), is played by a new actress, Madeleine Sologne. The role calls for her to be a little fey, but Mlle. Sologne behaves as if she hadn't read her Master's foreward. She seems, from the beginning, to be "aware" that she is Iseult. She is also too heavily made up for so pretty a young lady and actually is more attractive when the lipstick is gone, and she nears...