Word: paramours
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...latest novel, La Chamade, and so to a breathless world was revealed the latest innovation in French amatory technique. In the days of Maupassant, mustaches and mistresses, the affluent Frenchman could not do without his cinq a sept-the 5-to-7 p.m. evening liaison with his paramour. Then he dashed home for a 7:30 dinner with his wife. All of that, as La Sagan sadly reports, has changed...
...line direction, A Man Could Get Killed is almost salvaged by the gravelly glamour of Melina Mercouri, the resident adventuress who somehow plays every role as though she has just been ordered to quit port on the next steamer. Melina first appears in funeral garb, crying into her former paramour's bier while one black-olive eye winks out a thinly coded message to Garner. When her friends are in trouble, Melina growls: "Try the harbor master; he is in love with my aunt." When a search party orders her to take everything off, she starts by removing...
...Adele, played by Gunnel Lindblom, is a sullen servant wretch whose impending miscarriage climaxes a lifetime of disappointments. Having lost a girlhood lover, she barely tolerates marriage to a handyman she loathes. Angela (Gio Petre) is a young aristocrat, seduced and abandoned by her aunt's former paramour. Agda (Harriet Andersson) is a trollop who took sweets from a lecherous stranger at nymphet age, and has been surpassingly generous to menfolk ever since...
...favor of Chief Justice Stephen J. Field, later California's first U.S. Supreme Court Justice. After the Civil War, in which he became a Confederate general, Terry represented the notorious Sarah Althea Hill in her battles to prove that she had been the wife rather than the paramour of a Nevada millionaire. In 1888, after Terry himself married Sarah, the case came before Supreme Court Justice Field, who was also serving as California's U.S. circuit judge. When Field ruled against Sarah, Terry floored a courtroom bailiff, served six months for contempt. After his release, he attacked Field...
...leads, and despite the increasing liberality of audiences, explains Shirley, "they don't like the lover of a white girl played by a Negro, make-believe or not." Lest this sensitivity detract from the impact of the opera, Shirley dons his whiteface and proceeds as a most cautious paramour, careful of his touch, suggesting rather than executing an embrace...