Word: showoffs
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Dates: during 1950-1959
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...little more than a decade later, Bad Boy Brando, still something of a showoff, has pulled the trick again. But this time his wall is a hundred thousand movie screens, his performance is distinctly more artistic, and his audience is the popeyed world. Six pictures in four years-The Men, A Streetcar Named Desire, Viva Zapata!, Julius Caesar, The Wild One, On the Waterfront-have branded the Brando name and face blue-hot on the public mind...
...president of Contrada's town council, Carmine, a dedicated Monarchist, set himself to bait the sulky showoff, Silvio, an ardent Demo-Christian, at every turn. When Silvio planted cherry trees on the borders of his property, Carmine made him cut them down because they overhung the village highway. When Silvio built himself a tomb in the local churchyard, Carmine complained that its steps were on public property. "Material wealth can never replace brains," he gloated when the steps were ordered removed...
Kandinsky's abstractions never fell into showoff coldness. There was passion enough in his pictures to overwhelm even so anti-abstract a social-realist painter as Mexico's Diego Rivera. "I know of nothing more real than the painting of Kandinsky," Rivera once wrote, "not anything more true and nothing more beautiful. A painting of Kandinsky gives no image of earthly life-it is life itself...
...crack-brained murderer, plays it for wry irony and unexpected humor as well as suspense. But he seems less interested in making his audiences believe in the story's outrageously rigged situations than in teasing, tricking and dazzling them with the masterful touch of a talented cinematic showoff. In a familiar shot of tennis spectators pivoting their heads to & fro, he plants the conspicuously immobile head of the murderer, staring at the hero. He intercuts a Forest Hills tennis match, which Granger desperately tries to win in time to intercept the villain, with a scene over a sewer grating...
...cheerful pictures, Henry does. It also shows Koerner's growing independence of involved, story-telling props. The children's airplane swing on which the figure poses might be taken to symbolize the young showoff side of any artist's make-up as well as the realist's happy lot-which is to go around looking. The jar of fish he totes with him might symbolize almost anything. But those two props do not make the painting, or even intrude on it too much...