Word: motioning
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Dates: during 1940-1949
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...three motions of no-confidence in the Government were introduced. De Gasperi got by with margins of 93, 47 and 34 votes successively. The Government was strengthened by a dramatic message from Washington that the U.S. had given up its share of Italian warships, awarded to the U.S. under the peace treaty. The Communists, seeing that De Gasperi was safe for the time being, withdrew their own no-confidence motion. The left's obvious strategy: to pin Italy's economic troubles on the Government as an excuse for further strikes and strife. Cried Nenni to De Gasperi...
...Political & Security Committee went issues like George Marshall's proposals for a year-round "Little Assembly," the veto, and independence for Korea, and Andrei Vishinsky's demand for measures "against propaganda and the inciters of a new war." Last week the committee waded into the U.S. motion to charge Yugoslavia, Albania and Bulgaria with threatening Greece, and to send an Assembly peace-watch to the Balkans. Cried Andrei Gromyko in good voice: "A Fascist clique is hatching plans...
Meanwhile, as the first step in a campaign to induce motion picture palaces in the Boston area to show UN-produced films, the College UN Council has asked the University Theater to screen "The People's Charter," which is the first production of the UN's film division...
...nostalgic glow. Gone With the Wind-all four hours of it-was in its fourth Manhattan week (MGM cheerfully estimated that it would take in another $5 million to add to its already prodigious $32 million). For five midsummer weeks, the Palace advertised "a repertory of memorable motion pictures," including Love Affair (1939), Top Hat (1935), Gunga Din (1939), The Informer (1935), The Spanish Main (1945) and The Bells of St. Mary's. Elsewhere in Manhattan, moviegoers could see Charles Laughton in Henry the Eighth (1933), Fredric March in Les Miserables (1935), Bette Davis in Marked Woman (1937), Orson...
Most of it is beautiful to look at, rather like tapestry turned into slow-motion ballet; but beauty on film, when there is too much of it and too little else, can get pretty dull. Not even the talented, magnificent-looking cast can bring much of the film to life. There is a lot of engaging magic, but that, too, loses its appeal; there is too little sense of real life by which to measure its wonder. The picture is saturated in a kind of allegorized romanticism that is curiously musty. There are moments when the film almost achieves what...