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...Goldwyn) was honored as the best story (by Robert E. Sherwood from a MacKinlay Kantor novel), and Myrna Loy was named the year's best actress for her work in the picture. Brussels' equivalent to Hollywood's Oscar, a bronze statuette of St. Michel, went to René Clair's French Le Silence Est d'Or (Man About Town), starring Maurice Chevalier. A special award went to Roberto (Open City) Rossellini's Italian Paisa (Country Town). French Gerard Philipe was honored as the year's best actor for his work in Le Diable...

Author: /time Magazine | Title: Cinema: Oscars Abroad | 7/21/1947 | See Source »

Invited to his party this week were Lazareff Friends Prince Peter of Greece, ex-Premier Paul Reynaud, Mistinguett, Marlene Dietrich, Jean Cocteau, Cinema Producers Marcel Pagnol and René Clair, dozens of writers, Cabinet Ministers, deputies and generals. They could toast Lazareff as one of the few journalists who had lived through, without being stained by, the venal days of France's prewar press. They also could toast a proved proposition : that journalistic honesty can pay off in France...

Author: /time Magazine | Title: The Press: Honesty (Plus Crime) | 6/23/1947 | See Source »

...ren Kierkegaard, a lonely, God-hungry Dane, waged his revolution against the excessive rationalism of the mechanistic 19th Century in which he lived. Thus his Christianity did not try to be "objective," but dealt with the universe in terms of man's own suffering, fearing, loving and hating-much as does present-day psychology.* For contemporary Denmark's official church Christianity, Protestant Kierkegaard had nothing but contempt, though he himself had been trained for the Danish ministry. His anger boiled over in such pronouncements as "Parsons canonize bourgeois mediocrity" and "Official Christianity is both aesthetically and intellectually ludicrous...

Author: /time Magazine | Title: Religion: Christians in Revolt | 5/12/1947 | See Source »

Surrealist pictures sometimes leave gallery-goers with the uneasy suspicion that the joke is on them. Last week a surrealist one-man show in Manhattan gave onlookers the pleasure of being in on the laughs. The paintings, by a dour little Belgian named René Magritte, have Salvador Dali's technical perfection but none of Dali's tiresome bag of Freudian tricks. Sample Magritte subjects: a fountain-as cool and wet-looking as the real thing-which spouts crystal mirrors, crowns, hands and cornucopias; a cigar box puffing a cigar; a door, set up against the sky, opening...

Author: /time Magazine | Title: Art: Be Charming | 4/21/1947 | See Source »

Never a prodigy, Andrew had gradually learned to hit off the look of what he saw without apparent effort. Now his technique has become as unobtrusively slick as that of Surrealist René Magritte (see above). And for an age when storytelling in paint is frowned on even by academicians, Andrew's pictures are suitably storyless. His sharply sunlit Afternoon (on exhibition with 17 other of his paintings at the Pennsylvania Academy of the Fine Arts last week) looks as pleasant, and as posed, as a vacation snapshot...

Author: /time Magazine | Title: Art: Disarming Realist | 4/21/1947 | See Source »

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