Word: scripting
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Dates: during 1950-1959
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Dylan Thomas was never satisfied with Under Milk Wood. The original theme first came to him when he was commissioned to write a short radio script for the B.B.C. He reworked this play, adding and swerving more and more from his intended plot, for ten years up until his death last November. Because of the scope of his drama, Thomas would probably never have been through polishing and revising. In Under Milk Wood, he is telling of all mankind, and it is his favorite story...
...part of a remarkable new crime show, Night Watch (Mon. 10 p.m.), which CBS Radio has launched as an answer to NBC-TV's fabulously successful crime series, Dragnet. For Jack Webb's skillfully re-created police episodes, Night Watch substitutes the real event; the script is replaced by the police blotter...
Originally titled Terminal Station, Indiscretion began discreetly as a combined effort of Italy's De Sica-it was his first English-language movie-and Hollywood's David O. {Gone With the Wind} Selznick, husband of Jennifer Jones. Selznick supplied the stars, script and money, De Sica the unblinking eye for "neo-realism." But the effort never moved very smoothly: De Sica, who likes to use nonprofessionals in his films and speaks poor English, frequently found his American stars hard to deal with. The original Italian script was worked over successively by American Authors Carson McCullers, Paul...
...Knock on Wood. Danny tries to give himself more room to whirl around in. Melvin Frank and Norman Panama wrote their script - and Kaye's talented wife Sylvia Fine contributed the specialty numbers - somewhat in the style of an aria with a few optional passages scattered along the way, at which points Danny could go into a comic Kayedenza if the inspiration came. And inspiration does come. One of the funniest parts of the picture is the scene in which Kaye. on the spur of the moment, becomes an automobile salesman sputtering trade talk ("overhead underslung oscillating compression decravinator...
...regularly begin by sighing that Shirley Booth (or Alfred Drake, or Gwen Verdon, or Jeanmaire) is delightful but that the show's book (or music, or lyrics, or both) is far below par. In The Pajama Game, the balance is finally restored: the excellent cast must compete with the script and score for the evening's honors. As a result, the intermission in The Pajama Game is an unpardonable intrusion and the final curtain falls hours too soon. It is the most consistently entertaining musical in several years...