Word: part
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
Robin Howard (Josie) and David Hooks (Jim) lack the aptitude for character work that these early scenes demand, and Michael Murray's direction, competent for the most part, does not make good the deficiency. Miss Howard works at being a great big slob with more assiduity than conviction. Mr. Hooks, charged with the equally difficult task of erecting a convincing facade around Jim's lunar desolation, elects a vaudeville entertainer's spring step and circus-barker patter; but it is the actor, not the character, who seems not quite able to bring...
...first part of the equation is Boylston Hall. This building, resembling the Charlestown jail more than a modern center for instruction in languages, has been completely reconstructed to give the modern language departments an opportunity to utilize the "oral-aural," "direct," method of teaching. Once a drafty museum of natural history, once the finest chemical laboratory in the United States, and once the headquarters of the Yen-Ching Institute Boylston has undergone another complete transmutation...
...exceptionally successful modern language program, so well that Levin deems him "the best man in the country for teaching beginning German." He teaches two sections, one in German B and one in German C, and an upper-level course; he also heads a group of five instructors and fifteen part-time assistants ("all in training to become language teachers") concerned with lower-level German instruction. Stein came to Harvard convinced of the value of the direct method of instruction, and in the last year he has made several significant changes within the department. Most important, of course, is the establishment...
...does well to honor the recent Wright creation. It deserves such recognition. But to do so by borrowing from the Guggenheim when its best acquisitions have naturally been used for its grand opening was ill-advised. This show is for the most part composed, unfortunately, of minor works and it is hard to see how such a big, but unsatisfying display will convince Boston's millionaires that modern art is worth purchasing for local museums...
...control of Mandrian and vigor of Leger, Giacometti and Chagall are the only significant assets of this sprawling show. For the most part, it gives one the impression that modern artists are sloppy and devoid of imagination. Though such is not the case at all, the till-now reticent benefactors of the Museum of Fine Arts presumably don't know this. Needless to say, the present exhibition is not going to enlighten them...