Word: roues
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Dates: during 1930-1939
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...thing, the show has a lot of dependable talent: the amusing, if less than Bea-Lillie, drollness of Luella Gear; the Gallic, if less than Maurice-Chevalier, charm of Jean Sablon; the dazed, middle-aged prankishness of Bobby Clark ("I'm Robert the Roue of Reading, Pa."); the borderline sanity of Abbott & Costello; the magic bartending of "Think a Drink" Hoffman, who turns water into not only wine, but dry Martinis, Pink Ladys and piping hot coffee...
...should wake up tomorrow morning and through the course of the day find your home-loving mother being courted by a roue, your august father succumbing to the soft inpeachments of an ogling actress, your elder sister flinging herself at a married artist, and your younger brother making love to a woman who enters and exits over the garden wall, you doubtless would retire to bed in the evening, very willing to "call it a day." Dodie Smith has conceived of just such a situation and she has fittingly dubbed her play "Call It A Day." After the delightful performance...
Elogio de Silves (A Eulogy of Silves), written by one Al-Motamid, an 11th Century Arab roue who lived in Seville. For Spaniards the piece parallels "Frankie & Johnnie." Further, Father Parsons learned that after the poem's recital the narrator sniggered coarsely, exclaimed: "But why go on? You know what happened...
...usual in a Thorne Smith story, the situation is extreme, the characters more so. An aged roue calls on his equally aged mistress, takes a turn in the garden and discovers the extraordinarily rejuvenating qualities of the swimming pool. His mistress follows suit; an all-night revel ensues, joined by the local fire brigade. Towards morning the old roue, now young and vigorously drunk, unfortunately suffers another immersion in the pool, and is rejuvenated to infancy before he can be rescued. But he still continues to have some of the appetites of a man of the world, calls mewlingly...
...Road to Singapore (Warner) is an underweight drama of the tropics, showing a cynical but maligned roue (William Powell) gracefully attaching the wife (Doris Kenyon) of a colonial doctor whose headgear alone would almost have been grounds for desertion. Derived from a briefly exhibited drama called Heat Wave, the picture shows its hero bearing the white man's burden with superfluous fortitude and increasing its weight by disguising his nobility with sophomoric sarcasm. Touted as a ladies' man because he once acted as co-respondent in divorce proceedings, he is pestered by the habitues of an insular country...