Word: shulman
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
City Across the River (Universal-International), based on Irving Shulman's novel, The Amboy Dukes, and solemnly introduced by Drew Pearson, is another slum drama with a social message. It tells the story of a Brooklyn kid (Peter Fernandez) who joins a tough street gang (the "Dukes") and quickly goes wrong...
...Love (music & lyrics by Allan Roberts & Lester Lee; sketch editor, Max Shulman; produced by Sammy Lambert & Anthony B. Farrell) adds another to this season's rash of revues. It is one of the rashest-expensive, elaborate, and about as intimate as army maneuvers. This is not a wise setup for Grace & Paul Hartman (Angel in the Wings). At their best as nightclub zanies, the Hartmans are dwarfed by so large a landscape-and rather flattened out by their lines...
...books helped to explain Germany's military collapse from the German side: Defeat in the West, by Milton Shulman, a former Canadian intelligence officer, and The German Generals Talk, by British Captain B. H. Liddell Hart. Both concluded that the German army's biggest handicap in the field was Adolf Hitler's personal direction of the war. Of special interest and excellent of their kind were A. D. Divine's Dunkirk, a brilliant recording of the cross-Channel rescue of Britain's beaten army in 1940, and Memoirs of a Secret Agent of Free France...
Barefoot Boy with Cheek (book by Max Shulman; music by Sidney Lippman; lyrics by Sylvia Dee; produced by George Abbott) is another of those youthful musical frolics (Too Many Girls, Best Foot Forward) for which Producer Abbott has become famous-and a little fatiguing. This one's locale is the University of Minnesota, and its line-up includes a fraternity run like a clip joint, a lummox of a football star, a pinhead of a society student, a sourball of a professor, a strident campus Communist, and a freshman hero (Billy Redfield) who is mauled by coeds and made...
...Shulman type of humor, relying upon the wittiest of word play rather than comic situations, is much less at home upon the stage than upon the printed page. But a fair number of recognizable bon mots still remain, together with sketchy outlines of the plot, such as it is. And with some very pleasant music and some clever lyrics by a couple of freshmen in the musical comedy business, named Sidney Lippman and Sylvia Dee, and most especially with Nancy Walker in the cast, the book becomes a secondary matter. It's built around a sharply-pointed parody...