Word: robert
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Dates: during 1950-1959
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Slumped in a maximum security cell in Mississippi's State Penitentiary, awaiting execution for the murder of a white woman in 1954, Robert Lee Goldsby, 32, a Negro, has one abiding concern: saving his skin. Last week the onetime lathe operator, whose death has been postponed five times in the past four years, won yet another legal delay, while simultaneously (and unwittingly) nudging forward the cause of Negro civil rights in the Deep South. Opening its fall term, the U.S. Supreme Court refused to review -and thereby affirmed-last January's far-reaching decision of the Fifth...
Time to Tighten Up. Treasury Secretary Robert Anderson had already proclaimed (TIME, Oct. 12) that "there is no longer justification" for European countries to maintain discriminatory restrictions against dollar imports. Washington also believes that if U.S. salesmen would get out and hustle, U.S. exports could be boosted significantly...
...Algeria boycotted the session, and the Gaullist U.N.R. Party was shaken by the angry resignation of nine right-wingers, who considered any concessions-even talks with the rebels-as the first step toward France's total loss of Algeria. "I refuse all solutions of compromise," cried tough Colonel Robert ("Leather Nose") Thomazo, as he walked...
...underworld. The hero (Harry Belafonte, who is also the producer) is a singer in a Harlem hotspot who signs on for a bank robbery to pay off his bookie. Unhappily, once he is in, he discovers that another member of the gang is a paranoid punk from Oklahoma (Robert Ryan) who would sooner risk the bundle than his sense of white supremacy. The punk calls the Negro "Brother Bones," and warns him not to "crap out" on the job. "Ah been handlin' [Negroes] all mah life. He's no diff'ent because...
...tension builds well to the climax-thanks partly to Director Robert Wise (I Want to Live!), partly to an able Negro scriptwriter named John O. Killens, but mostly to Actor Ryan, a menace who can look bullets and smile sulphuric acid. But the tension is released too soon-and much too trickily. The spectator is left with a feeling that is aptly expressed in the final frame of the film, when the camera focuses on a street sign that reads: STOP-DEAD...