Word: molnar
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Dates: during 1950-1959
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Damns & Praise. There was much applause, although not all critics seemed sure of what they were clapping about. The Atlantic's Charles Rolo: "One of the funniest of the serious novels I have ever read." Although the Jesuit weekly America was sternly critical, Thomas Molnar cheered in the liberal Catholic weekly, Commonweal: "It has been said that this book has a high literary value; it has much more; a style, an individuality, a brilliance which may yet create a tradition in American letters." Said The New Yorker: "The special class of satire to which 'Lolita' belongs...
...perfect acoustics provided by the gently sloping Masson vineyards, in which he has a part interest. (The Masson estate was the scene of Anna Held's notorious champagne bath at the turn of the century.) The Fromms hired the San Francisco Symphony's Solo Violinist Ferenc Molnar (no kin to the late playwright) as series director, promptly sold out 500 folding seats for each of three concerts...
...compress." While he derided "soapbox philosophers" and "commercial uplifters," Critic Nathan preached, cajoled and bullied to carve out a niche for Eugene O'Neill, the first U.S. dramatist to achieve worldwide renown. He worked as hard to popularize such famed European playwrights as Sean O'Casey, Ferenc Molnar, and Luigi Pirandello. Says the New York Times's Drama Critic Brooks Atkinson: "Nathan had as profound an influence on the American theater as George Bernard Shaw on English theater...
...pretty Vernon Duke background music. And Anouilh has given it good writing enough, and elegant mannerism enough, of its own. But at times the play seems merely thin where it should be diaphanous, merely slight where it ought to be airy. Perhaps it needs a born pastry cook like Molnar, with his delicately browned, bite-sized ironies and his lightly philosophic macaroons. Perhaps it needs a more pervasive verve. Perhaps it only needs a wicked fairy, or a fuming stepsister, or a missing slipper. But for all its many graces, it is a touch unsatisfying...
...Still, he felt that already the U.S. has seen some modern performances that compare with the supremely brilliant ones in the past abroad, and cited Jeanne Eagels in John Colton's Rain (1922), Pauline Lord in Sidney Howard's They Knew What They Wanted (1924), Alfred Lunt in Ferenc Molnar's The Guardsman (1924), and Laurette Taylor in Tennessee Williams' The Glass Menagerie...