Word: prussianize
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...Heusinger. 58. a small (5 ft. 6 in.), sandy-haired army veteran who began his career as a cadet in World War 1, rose to be Wehrmacht chief of operations in 1940, was standing at Hitler's side when the bomb exploded in the Fuhrer's East Prussian headquarters on July 20, 1944. Heusinger was a participant in the plot, although he did not know the bomb had been set for that time, and he was put under Nazi house arrest until war's end. Considered by some a colorless, wavering man, he has been called...
...stock market, the experts have sometimes been caught with their stocks down. Items: John Singer Sargent's watercolors, worth $20,000 in the '205, today can be picked up for around $1,000. Alphonse de Neu-ville's flagwaving scene from the Franco-Prussian war, The. Last Cartridges, whooped up to $40,000 in gold in 1890, was auctioned off six years...
...canvas, that gives his work its strength and impact. The Determined No. Each turn of Grosz's early life in Germany seemed only to strengthen his determined no. Born in a lower-middle class innkeeper's family and fatherless at six, Grosz rebelled against his cane-wielding Prussian teachers, and was expelled from school. Turning to art, he made his way through Dresden's Royal Academy of Art, arrived in Berlin shortly before World...
...military hospital for the shell-shocked and insane. After discharge Grosz found the subject that made his reputation: the postwar nightmare of inflation-ridden Berlin. Grosz glared at the world with jaundiced, penetrating eye, set down the characters he saw in portraits etched in gall: frozen-faced Prussian officers, lecherous, high-collared industrialists, black-marketeers, mutilated soldiers, and the city's frumpish, lard-fleshed whores. Perversely, the rich enjoyed their own caricatures. But when the Nazis took over, they were not so understanding; Grosz's savage anti-Hitler cartoons soon earned him a place...
...Boris Karloff is a restrained and very effective Cauchon. While he is sympathetic, the role demands an unwavering conception of duty which permits little new interpretation. Theodore Bikel, as Robert de Beauricourt, is properly rowdy but perhaps a victim of the incongruity of French and American vulgarity. His almost Prussian manner may be an attempt to breach the gap, but it is an inadequate one. If Christopher Plummber had rendered Warwick American-style, the result would have been ludicrous. Happily, he has adopted all the confidence of the cynical Englishman looking down upon fifteenth century France. He is also...