Word: personal
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Dates: during 1940-1949
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Trash on High. Eisler denies that there is any such thing as a "history" of film music: "The person who around 1910 first conceived the repulsive idea of using the Bridal March from Lohengrin as an accompaniment is no more of a historical figure than any other secondhand dealer." Neither does he think that movie music is getting much better: "Progress has become perverted into calculating the audience's reactions, and the result is a combination of third-rate entertainment, maudlin sentimentality. ... It consists only in the fact that trash was taken out of its humble hiding place...
...town to watch the Assembly handle Egypt's case. Some day his own state might be in the same fix. Meanwhile, he was prepared to enjoy himself. "Before we came," he told a reporter over a lemonade last week, "we thought America had one car for each four persons. Now we're convinced there are four cars for each person...
Quite aside from Mr. Bogart's high-skilled labor, The Dark Passage has the benefit of an unusually good script and direction by Delmer Daves, who also wrote and directed another unconventional thriller, The Red House (TIME, Feb. 17). Daves's first-person-singular manipulation of the camera profits by Robert Montgomery's good pioneering in Lady in the Lake (TIME, Jan. 27). Director Daves also has a sensitive hand with atmosphere and mood: there is a beautiful outdoor scene, for instance, in which the exhausted, bandaged Bogart, like a figure in a nightmare, staggers through...
...last Chancellor of Austria before Hitler moved in, arrived in Manhattan from Italy with wife Vera and six-year-old daughter Cissy, promptly headed for Brooklyn, declaring his hope to settle there. A visitor for two months last spring, he now returned, said he, as "a refugee, a displaced person." His plan for the future? "To live a quiet life...
...Sophie's slim-waisted models swept about her salon last week, the carefully curried audience of women (and one sad husband looking like a Displaced Person) cooed with pleasant surprise. Nowhere was there a sign of fantastic extremes that had given the New Look its painful expression. Sophie had simply gone her own, independent way and created a New Look that was an easily recognizable alteration of the Old. Shoulders were padded slightly less than before and waists were narrower, but few were corseted, and daytime hemlines, only slightly lower, were still a long way from the ankles. ("Everyone...