Word: room
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Dates: during 1960-1969
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...will let his grandmother burn if a hotter story turns up across town-or so the Hecht-MacArthur legend has it. Hildy Johnson (Bert Convy) is a classic of his breed, a red-hot superscooper. Suddenly he threatens to do the unthinkable. He tells the boys in the city room that he is going to get married, desert his raffish calling and go square in a New York advertising firm. His boss, Walter Burns (Robert Ryan), the managing editor of the Chicago Examiner, dresses like an Edwardian dandy and has the ethics of Genghis Khan. There is no device that...
...long and rather glorious tradition of Spanish grandees in the arts. Like Picasso and Dali before him, he is both a dazzling technician and a self-consciously public personality, immoderately gifted and immodestly inclined to say so. With his French-born wife Michele, he presides over the 40-room Villa Rizzardi outside Verona, a Renaissance palazzo set among stately cypresses and broad formal gardens that he has studded with his own works. There, the couple entertains some of the top sculptors of Europe, who seek out Berrocal's foundry for expert casting and professional guidance...
...land on Terra Caelestis [Heaven], with your pillow and chamberpot, you are made to room not with Shakespeare or even Longfellow, but with guitarists and cretins...
...vast rococo establishment. In the offseason, the staff tends to outnumber the 20-odd guests. Most of these regulars are women of 60 or more-a couple of Americans, a few English, a stray Parisian countess or two. Twice a day they gather in the Winter Dining Room, a smallish chamber in the hotel basement, which, despite lavish importation of daffodils and red tulips, is a frightful miniature of desolation. All guests have their own tables; there is almost no talk. The Nabokovs have a cook and eat here only when they have visitors...
...when Mudd wakes up the cannoneers, they bolt into sitting position on their bunks in unison, as if a single string controlled them all; the sense of formation is carried through to the end when the prison commander and his men visit Mudd in the hospital--they enter the room in military formation, although a realistic dramatic context would render this unnecessary. Ford's universe is highly structured. The symmetries and orders he creates for his characters have such rightness that individual characters assume more force and have more freedom, though confined strictly to Ford's geometries...