Word: saxonism
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Miguel Antonio Enrique Francisco Estrada (John Saxon), a first-generation Puerto Rican-New Yorker, is just out of stir and determined to go straight; he is a solid, workmanlike thug, though, and the old gang wants him back. They tempt him with a sex moll (Linda Cristal), "just up from Puerto Rico and full of sugar cane." Will he have one lump or two? He hesitates-then takes the whole bowl...
...Actor Saxon, born in Brooklyn in 1935, is not a convincing Puerto Rican, but if Cry Tough has a redeeming feature, it is his quiet, unmumbling appeal as an upcoming young actor...
...bewildering plot runs in and out and on and on. An Arab prince, played with unabashed narcissism by John Saxon, pursues an ebony-eyed half-breed (Susan Kohner) through the three tasteless hours and 14 minutes (with intermission), only to lose her in the end. "Some day I'll find you," he trills after her. And towering woodenly over all the power struggles and polyglot types is big Bass-Baritone Howard Keel, who plays "two-fisted and profane" Simon Peter as if he had never left Carousel...
...strengths of Anglo-Saxon jurisprudence that a government-appointed commission can frequently put the government itself in the dock and block its course. Last week a four-man British commission, headed by respected High Court Justice Sir Patrick Devlin, brought in a report on its six-week investigation of the nationalist uprisings last March in Nyasaland, the African territory run by London's Colonial Office. The report flatly called Nyasaland a "police state," and its findings may jeopardize the merger of black Nyasaland with the black and white Rhodesias into a Central African Federation, which is plumping for self...
Hanson: The Lament for Beowulf (Howard Hanson conducting the Eastman-Rochester Orchestra and Eastman School of Music Chorus; Mercury, mono and stereo). An early (1925), timbrel-thumping excursion into myth that seems as far from Anglo-Saxon England as Composer Hanson's birthplace (Wahoo, Neb.). The chorus protests too much, but in the gently welling final eulogy, the work stirs with a sweetly nostalgic, gracefully dappled light...