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...Maria Schell recalls, her eyes misting, "it was wonderful!" And wonderful is the way it has been ever since. In the 25 years that have waltzed by since that evening in Vienna, Actress Schell has swept-and elbowed-her way to a considerable reputation in the European theater and through a remarkable series of triumphs on the European screen. For six years she has been top draw at the German box office, and she makes more money (about $85,000 a picture) than any other German actress. At 31, she is a serious professional player who takes more pride...

Author: /time Magazine | Title: Cinema: The Golden Look | 12/30/1957 | See Source »

...what may become her greatest triumph. Wowed by the ability displayed-and the receipts shown-by some of her recent foreign pictures (The Last Bridge, The Heart of the Matter, Gervaise), the we-gotta-have-new-talent hounds at M-G-M came briskly to a point.* Actress Schell was promptly signed to a comfy contract, written to her own shrewd terms: four Hollywood pictures in seven years, $100,000 for the first picture, $175,000 for the last, script and director to be approved by Actress Schell, full freedom to make pictures for any other producer...

Author: /time Magazine | Title: Cinema: The Golden Look | 12/30/1957 | See Source »

...Bergman? Last week M-G-M was getting ready to hurl "the blonde bomb Schell," as the movie columnists like to call her, at the U.S. moviegoing public in her first Hollywood picture-a $2,500,000 adaptation of The Brothers Karamazov, in which, as Hollywood would have it, the first lady of the European screen will be seen in a role (Grushenka) that was originally intended for Marilyn Monroe. Maria Schell has already burst on several preview audiences with a flash that clearly dazzled them, and last week the boys in the executive steamroom were sweating out the final...

Author: /time Magazine | Title: Cinema: The Golden Look | 12/30/1957 | See Source »

...comparison is not at all farfetched. Perhaps not since the full-blown Garbo has the old world offered to the new such a prepotent image of the eternal feminine as can be seen in the mysteriously soulful face of Maria Schell. It is the face of a princess in a German fairy tale. Her hair is still the palest gold, and it tumbles over her shoulders, when she lets it down, in quietly melodious loops. Her skin is white and perfect. Her mouth is delicate, and her smile almost too exquisitely sweet. Her eyes change, as the light changes, from...

Author: /time Magazine | Title: Cinema: The Golden Look | 12/30/1957 | See Source »

Gervaise. Emile Zola's L'Assommoir, a vast cry of rage at man's fate, diminished by French taste into a touching story of a woman's ruin; with Maria Schell (TIME...

Author: /time Magazine | Title: Cinema: CURRENT & CHOICE, Dec. 23, 1957 | 12/23/1957 | See Source »

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