Word: russianized
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Dates: during 1930-1939
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This last question, hitherto shelved by British diplomacy, was what last week ingratiated Soviet Russia at the same time that it irked Germany. The Russian objection that the British note gave unlimited opportunity for evasion was precisely its virtue in the eyes of the British gentlemen who framed it. Last week, after preliminary secrecy, the note was printed simultaneously in British and German newspapers. Commented the Frankfurter Zeitung sagely: ''Questions can be asked because you want to know what someone thinks or intends to do. They can be asked because you do not know yourself what you want...
...Military PolonaiseChopin-Glazounoy *Overture, "Raymond" Thomas "Whispering of the Flowers" Blon *Suite from "Nell Gwyn" German *Eight Russian Folk Songs Liadov *Finale of the Fourth Symphony Tchsikovsky Orphean Club of Lasell Junior College George Sawyer Dunham, Conductor *Selection, "Anything Goes" Cole Porter *"Jolly Fellows,"Waltzes Volstedi *Fifth Hungarian Dance Brahins Selections checked (*) are available on records at Bridge & Briggs Music Store, Harvard Square
Please, furthermore, publish my statement based upon authentic and reliable information that neither there exists such secret agreement between China and Russia as was referred to in the foregoing article, nor has Russian financial aid ever been accepted by General Chiang Kaishek...
...From Kronstadt (Amkino). The hallmark of most Russian films is their incongruous blend of loose amateurism and disciplined genius. In We Are From Kronstadt, Cameraman N. Naumov-Straj turns in a magnificent feat of cinematography when he articulates the progress of this remarkable revolutionary battle piece. Taking advantage of the dank Baltic gloom around the Kronstadt Naval Base to begin his film in low key, he dramatically heightens it until the climax is reached with the great attack and rout of the White Army on the bleached, glaring tundras north of Petrograd. At the same time, We Are From Kronstadt...
...Russian cinematography, however, even shortcomings have merit, since they somehow manage to produce a sort of spontaneous, newsreel authenticity. Never before approximated for sheer credibility is Director E. Dzigan's uncanny recreation of a minor infantry rush, which supplies the picture's climax about an hour before it is due. The men flop at the first signs of fire, try to scratch up a few handfuls of earth to hide behind, stare at each other to see who will have nerve enough to follow the commander forward, stumble to their feet, start to run and, the lust...