Word: plays
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Dates: during 1950-1959
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...ranking G.O.P. member of the Ways and Means Committee, and Pennsylvania's Ed Martin, chilly in the past toward the Eisenhower Administration, now found themselves backing Ike in his refusal to push the panic button. Yet many devoted Eisenhower Republicans found themselves nervously eyeing the Administration's play of the hand. Among them: New Jersey's Clifford Case, New York's Jack Javits, and Kentucky's John Sherman Cooper, who are in the forefront of Senators calling on the Administration for more dramatic moves against unemployment. Even the Eisenhower Cabinet itself seemed split, in point...
...Evangelical churchmen, will make its public debut with a mass rally in Frankfurt. As in Britain, the Florence bomb proved a windfall to the cause, and Hamburg's Bild-Zeitung nervously asked whether American planes were flying A-bombs over West Germany. The question got a big play-far bigger than the U.S. Air Force's answer...
...which only M.C.A. performers were permitted. M.C.A. spread to Hollywood in 1937, added movie and radio stars to its roster, often by hiring other agents, with their list of clients, or absorbing their agencies. On movie lots, the M.C.A. agent became so powerful that he decided what stars would play in what movies, and for how much, along with who would write the script and direct it. M.C.A. tax men found new ways for stars to save on taxes, notably by getting a percentage of a movie instead of a big salary, thus spreading income over many years...
...play, to which Irwin Shaw's script is reasonably loyal, is flagrantly Freudian, and it is to Hollywood's credit that the extremities of the Elms have not been pruned. O'Neill set out to write a Yankee Oedipus Rex, but what came out might more appropriately have been titled Sex Rex. The antagonists of the drama are a father (Burl Ives) and a son (Anthony Perkins), and the subject of their struggle, as in the myths of heroic succession on which the drama is modeled, is the land (a New England farm) and the woman (Sophia...
Gamy meat, and O'Neill served it raw. But after a trip through the production grinder, his scenes come out on film looking rather like a row of pretty little veal birds. The stark images of the play are softened on the screen to glossy blowups. The bare New England farmhouse looks like the dream cottage in a rural real-estate prospectus. The actors play in a welter of unrelated styles. But the most important trouble with the picture is that it was ever produced. O'Neill's characters are not people; they are symbols...