Word: scenes
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Dates: during 1950-1959
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...straight Hollywood foreign intrigue: the night scene at Lisbon airport, passengers to Rio de Janeiro fretting at Flight 289's unexplained two-hour delay. A black Mercedes-Benz slips onto the runway. A man scuttles out, clambers into the airliner. Forty-five minutes later, 20 plainclothes policemen dissolve into the darkness, and the great silver plane roars off into the Atlantic midnight...
...scene was a little overdramatic, but then, dictators must take no chances. The man whisked out of Portugal to asylum in Brazil was Premier António de Oliveira Salazar's biggest problem-Humberto Delgado, a balding Portuguese general-turned-politician, who had spent the past three months in petulant, self-imposed exile in Brazil's Lisbon embassy. Running for the ceremonial office of President last year against a candidate backed by Salazar, in a land where the press is not free and Salazar's men count the votes, Delgado polled almost one-fourth of the votes...
Margot Fonteyn-Dame Commander of the British Empire,* star of Covent Garden's Royal Ballet, top ballerina of the Western world-cast a large, limpid brown eye through her camera view finder and pressed the little button. A flashbulb's white glare froze a busy scene against the black of a tropic night on the Gulf of Panama, in the Pacific. Dame Margot's husband Roberto ("Tito") Arias-scion of one of Panama's 20-odd leading families and recently (1955-58) his nation's Ambassador to the Court of St. James...
Ferry Marquand has enough of the hair-on-the-chest quality proper to a Savoy contralto, and Susan Stone makes the scene in a smaller role. But the singing in certain other roles encroaches on the eyebrow-raising, and conductor Danny R. Moates, equal to his responsibilities for the most part, has failed from time to time to give the members of his chorus much in common...
...contemporary scene to Mr. Feiffer can be best beheld from the windows of the Voice--big ones that look out on a wide prospect of Greenwich Avenue. His vision is far from universal: when he is not looking at his urban, liberal, Freudian, cultural (if not always cultured), ostentatiously enlightened milieu, he is looking at other things from its viewpoint. Anyone who belongs to this milieu, or who can temporarily or permanently assimilate into it (which is easy, after a few years at Harvard), will find both books full of old friends sensitively observed and old enemies devastatingly put down...