Word: screen
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Dates: during 1940-1949
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...rard had only to ask, with an archbishop's solemnity, "Isn't pink a lovely color?" to send designers running to their shelves. He turned out a stream of ideas for ballet, stage and screen, designed the sets and costumes for such notable numbers as The Madwoman of Chaillot (TIME...
Home of the Brave (Screen Plays; United Artists), as a Broadway play by Arthur Laurents, described the crack-up of a Jewish G.I. who was a victim of race prejudice. The movie version, produced by the same small studio that made Champion (TIME, April 11), daringly substitutes a Negro in the central role. Home of the Brave is thus the first of Hollywood's new series of Negro problem films to cross the finish line...
...Wizard of Oz (M-G-M), dusted off and reissued, proves that true wizardry, whether in books or on the screen, is ageless. In the magical land of Oz, nothing changes. As wide-eyed Dorothy, Judy Garland still wanders through an enchanted Technicolored landscape with the Tin Woodsman (Jack Haley), the Scarecrow (Ray Bolger) and the Cowardly Lion (Bert Lahr). The whimsical gaiety, the lighthearted song & dance, the lavish Hollywood sets and costumes are as fresh and beguiling today as they were ten years ago when the picture was first released. Oldsters over ten who have seen it once will...
...Back Streets of Paris" is a good example of how the French, unhampered by any gangster-cow-boy heritage, can make a decent blood 'n' thunder movie. The characters somehow standout from the screen as real people; you may disapprove of the life they lead, but still it's a perfectly credible life. Not that the film lacks any violence; on the contrary, there's a lot. But you quite literally always know what the shooting's about. "Back Streets of Paris" treats the activities of the French underworld in a frank and unassuming way; some scenes are so natural...
...Berkleys of Broadway (M−G−M) is a light-hearted Technicolored reunion for Hollywood's best-known dance team: Fred Astaire and Ginger Rogers. The last time Fred and Ginger whirled across the screen together (The Story of Vernon and Irene Castle, 1939), they were impersonating the famed ballroom dance team of the pre-World War I era. In The Bar-kleys, despite a thin veneer of fiction which makes them husband & wife, they are impersonating the world-famous cinema dance team of the '30s: Astaire & Rogers...