Word: rocke
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Dates: during 1940-1949
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...Mexican plateau near the Pacific, 200 miles west of Mexico City. Paricutin, the new volcano which erupted from a cornfield, has grown to a mountain some 1,500 feet high and shows no signs of weakening. Natives call it El Monstruo. Belching 2,700 tons of fiery rock a minute, the crater has over-awed hundreds of tourists. At its more spectacular moments, spectators break into applause. One woman, after watching for a few minutes, broke into tears and hysteria. Hardened volcanologists, by their own account, have come away dazed and with knees shaking. Said Dr. William F. Foshag...
...Dionisio Pulido, plowing his cornfield, suddenly felt the ground rumble and saw a great column of white smoke burst from the ground. He ran to the priest in the village of Paricutin, two miles away. By the time priest and villagers arrived, the crater was belching molten rock and lava. In a week it had raised a cone 500 feet high; in ten weeks, 1,000 feet. Then lava, erupting from the crater's top and sides, began to ooze over the countryside...
...driver (Buster Keaton) into leaving his dreary route for a gently berserk tour of the moonlit seashore. She takes Hall to San Diego's Zoo where, with very sensible leisure, the camera forgets all about the plot to watch a couple of engaging bears, hindfeet clasped in paws, rock back & forth on their bottoms...
...antifascist journalist (Michael Redgrave) who raged through the 1930s with a Cassandra's customary success, retires to sit out World War II on Thunder Rock, in a Great Lakes lighthouse. Embittered, soaked with liquor and self-pity, he is content to let the world go hang. While it hangs, he entertains himself by conjuring up in his imagination a number of immigrants from Europe who drowned near his lighthouse a century ago. Before long they all but take on flesh & blood, act out for him the tragedies and the defeats of their own lifetimes...
...play (by Robert Ardrey) Thunder Rock flopped in Manhattan, but ran long & loud in London. As cinema, its prospects are unpredictable. Like the play, it suffers from naive lubberliness, reminiscent of Eugene O'Neill at his worst. But it also has some of the most stinging and salutary talk about prewar blindness, postwar prospects and their causes which has ever reached the timid screen. Its edged, cultivated production and its heartfelt acting-particularly that of brilliant Barbara Mullen-also help to turn the struggle of the protagonists into drama a fraction as searching and noble as the author intended...