Word: plotting
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Dates: during 1930-1939
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Last week, the Campbell-McGee parade reached its logical destination. After a trial, in the course of which the judge announced that he had foiled a plot whereby a woman juror was to receive a $25,000 bribe for holding out for acquittal, a jury, sequestered in the Statler Hotel, found Messrs. Campbell & McGee guilty as charged. Same day, accompanied by policemen but not by their musicians, Messrs. Campbell & McGee motored to Ohio Penitentiary, to start serving one-to-five-year sentences...
...Girl of the Golden West (Metro-Goldwyn-Mayer) plasters opulent prettiness, vociferous songs and an assortment of plot cliches all over David Belasco's ancient yarn about the mad, bad days in early California. Walter Pidgeon, sheriff of Cloudy Mountain, and Bandit Chief Nelson Eddy are rivals for Jeanette MacDonald, pastel-tinted proprietress of the Polka Saloon. Eddy's dimples, wavy hair and roly-poly pinkness satisfy the popular idea of a rakehell bad man about as well as they did that of a West Point football player in Rosalie. Miss MacDonald's concession to her role...
...Stalin's health, to cause the deaths of other Bolsheviks. One of these might have been Nikolai Yezhov, 42, today the secret police chief under whom the present trial was prepared. Yezhov, it appeared, had suffered from "slow poisoning" and would certainly have died had not the plot against him been discovered...
Dangerous to Know (Paramount) is a glowering melodrama with artless plot, artful production. Akim Tamiroff, alumnus of the Moscow Art Theatre, has had 60-odd Hollywood roles, nearly all of them brooding and villainous, most of them whiskery. In this picture he is a thin-mustached, esthetic bigwig racketeer who tunes his moods to Tchaikovsky or Wagner, keeps a slinky-eyed hostess (Anna May Wong), is dangerous to know because he eliminates occasional associates with sad-eyed sadism. With his town's financial and civic agencies pretty well in thrall he makes the social error of trying to snare...
Vardis Fisher's candid, uneven, sometimes powerful tetralogy (In Tragic Life, Passions Spin the Plot, We Are Betrayed, No Villain Need Be) reminded critics of Rousseau, Zola, Dostoyevsky, Dreiser, D. H. Lawrence (but not, oddly enough, of Thomas Wolfe). This four-decker autobiographical chronicle told the tormented story of Vardis Fisher's fight to free himself from acute egomania and puritan repressions...