Word: raoul
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Dates: during 1950-1959
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...never thought that TIME would print, and in color, a picture for which I posed. But you very obligingly did so with your Dufy lithograph in the Dec. 14 issue. When I was a drama student in Paris, early in 1937, I was asked if I would pose for Raoul Dufy in his Montmartre atelier for a picture to go into the soon-to-open International Exposition. I gladly accepted, and found that I was to be Archimedes [see cut] in what a studio aide called une peinture qui sera vraiment extraordinaire. Dufy frocked me in a white toga-like...
...largest paintings of modern times was the gigantic mural done by the late Raoul Dufy for the pavilion of electricity at the 1937 International Exposition in Paris. The finished work, depicting the history and importance of electricity from the earliest philosophers to the 20th century, was 197 feet wide and 33 feet high. Dufy christened it La Fée Electricité (The Fairy Electricity...
Perhaps director Raoul Walsh considered Martin so fascinating that he wished a minimum of attention to be focused elsewhere. Martin is undoubtedly a remarkable and enigmatic character: a man who was seemingly a sincere spreader for the "little man everywhere" and yet was capable of calculating ruthlessness; one who drew people to him by his personal dynamism and then twisted and used them for his own purposes. Cagney's leonine, forceful acting paints a convincing picture of the figure who could drag a dying man onto the witness chair to further his own political ambitions...
...Raoul Walsh's direction keeps the film moving briskly and Cagney dominates the film in the grand manner of the 19305, when he was Hollywood's top tough-guy star. Though he looks and sounds far more Broadway than Deep South, he is thoroughly persuasive as a fast-talking politico equally able to bamboozle a backwoods crowd or to make a deal with big-city gangsters. Good shot: Cagney's shrewd mixture of friendliness and contempt as he joshes his neighbors into turning a broken-down house into a honeymoon cottage for himself and his bride...
Portrait on a Cameo. Far different from De Lattre, Navarre also proved that he was a different man from his immediate predecessor, General Raoul Salan, a fully competent professional soldier who was handcuffed both by Paris' orders to avoid casualties and by his own lack of military panache...