Word: plot
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Dates: during 1950-1959
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...during" shots are easily recognized: they are used over and over again. Maedchen's musical background is also interesting, largely because it occurs so rarely. Unless one is a connoisseur of the development of the movie industry, however, he will find Maedchen only moderately absorbing, for the plot is a little lacking in intensity. The acting, at any rate, unlike that in many old movies, never seems ridiculous; in fact, it is very good...
Given this obliging plot material, the playwright has a relatively easy task. He simply sends all his main characters off to New York on separate missions and arranges, during the three remaining acts, for them to turn up together in various embarrassing circumstances. One might say that the proceedings get progressively wilder and Wilder...
...black robe, in the sudden change in her face as, in mid-song, a new thought crosses her mind. She listens with a special intentness while others sing to her-although it is a question whether the pain that sometimes touches her brow is called for by the plot or caused by a fellow singer's strained note...
...that got its fireworks from the incendiary performance of Gina Lollobrigida as she scattered sex and devastation through the streets of an Abruzzi village, and in the manly breasts of Policeman Vittorio De Sica and Roberto Risso. Frisky assembles all of the old cast and most of the old plot for another run-through. But this time the razor edge of comedy has dulled: Gina's rowdiness is strident, De Sica's amorous posturings predictable, Risso's Li'l Abnerisms boring. Like the picture itself, the earthquake that brings everything to a happy conclusion is anticlimactic...
...nearly so famous in his time as Liberace is today, and besides he was a careless dresser. Liberace decided to "insist that all the different facets of my personality ... be included in the picture." As a result, the Beethoven story seems to have been combined with the plot of a well-known melodrama, The Man Who Played God. Liberace could now express his musical talents as Beethoven, and satisfy his dramatic instincts in a part played by George Arliss. Even so, there were some "facets" left over. Liberace listed them: "Joy, sorrow, faith, love of family, love of children...