Word: playwrights
(lookup in dictionary)
(lookup stats)
Dates: during 1930-1939
Sort By: most recent first
(reverse)
...Sandler's place last week stood tall, 53-year-old Christian E. Günther, one of Sweden's smoothest diplomatists. Onetime Minister to Argentina, Chile and Uruguay, he has more recently served as Sweden's envoy to Norway. A playwright, novelist and poet, Foreign Minister Günther belongs to no political party, like all good diplomats has long cultivated the habit of keeping his mouth shut and his ears open. Unlike Mr. Sandier, he can scarcely be accused of being for or against anybody...
Urbane, witty Jean Hippolyte Giraudoux, playwright and novelist, is always irritated to be called a propagandist. He insists he is simply the chief of the French Commissariat General de I'Information. Another pet annoyance is to be told that France and Britain are fighting a "phony war," and last week, in a speech of high literary quality before the American Club in Paris, M. Giraudoux set about to correct any such notions held by transatlantic strategists...
...late leggy, lantern-jawed Sidney Howard was one of the ablest, most dependable scripters who ever turned his successful plays into equally successful movies (The Silver Cord, Yellow Jack, Dodsworth). Selznick considered Playwright Howard "a great constructionist" and turned to him in his hour of need. After a brief total immersion in Gone With the Wind, Sidney Howard arrived in Hollywood in the spring of 1937. With Selznick's famed marked copy of Gone With the Wind as a starter, Selznick, Howard and George Cukor (to supply the director's angle) spent twelve hours of a series...
...this one do more than wreak havoc in their own particular industries; they besmirch the name of the entire labor movement. If allowed to go on as they are now, they will ultimately work their own destruction, but in the debacle they may ruin the drama as an art. Playwright and flyman alike have a heavy stake in cleaning up the mess...
That Anderson is often concerned with deeply serious ideas, and has had the guts to take the hard way in the theatre, is beyond dispute. But the sound playwright who long ago wrote What Price Glory? and Saturday's Children has gradually given way to a fuzzy cosmos-gazer. Anderson is the most flatulent and pretentious of U. S. dramatists because he seldom does justice to his grandiose conceptions. The verse of Key Largo will not stand comparison with such contemporary dramatic poetry as T. S. Eliot's or Archibald MacLeish's. So little feeling, indeed...