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...tell these young upstarts tales that will amaze them, tales of the early life of Spilbert the Great, and his double, Alkalaw. We will relate the story of their Great Uprising, and the fall that followed. We can sketch their fools, too numerous to name. Yes, it will make an epic, Inchball, if you help...

Author: NO WRITER ATTRIBUTED | Title: S. O. S | 2/4/1941 | See Source »

Fredric March with his solid, unruffled disposition makes a neat and finished sketch of the brooding Heyst; Sir Cedric Hardwicke is as sinister as a haunted house with his bland, cobra-like Mr. Jones; Jerome Cowan, mouthing claxon-like Cockney accents, draws an ugly but adept picture of a psychopathic killer; sparrow-voiced Betty Field turns the mousy Alma into a heroine with dimensions. But it is an actor's movie. There is never any real suspense in a story where suspense is the hallmark...

Author: /time Magazine | Title: The New Pictures, Jan. 6, 1941 | 1/6/1941 | See Source »

...Happy Jim Parsons for Air Conditioning Training Corp., Johnny Prentiss for Gruen Watch Co. He boasts that he has made more phonograph records than any other singer, having worked for 22 companies under ten different names. On the radio he has played as many as twelve characters in one sketch. But until he was tried out for Gaston, he had never attempted a French accent...

Author: /time Magazine | Title: Radio: Gaston, the Patriot | 12/30/1940 | See Source »

...children, began drawing and coloring, the family lived in bitter poverty. Morris Kellerman, president of American Lending Libraries (drugstore chain), discovered them, enabled the family to find a decent home. Samuel Fleisher, public-spirited Philadelphian, crusader for "Cultural Olympics" (TIME, Dec. 7, 1936), got the twins in the Graphic Sketch Club which he supported. At 14 Freda & Ida were girl wonders who insisted on sitting side by side in class, sometimes could not tell their own sketchbooks apart...

Author: /time Magazine | Title: Art: The Leibovitz Twins | 12/16/1940 | See Source »

...express emotion, but for recreation. The motions of the human limb per se do not have aesthetic meaning for us. So that there is something a trifle anomalous in the sight of the Russian ballerina pirouetting and pointing, performing entrechats and arabesques in many a graceful convolution, all to sketch out some ethereal emotion which might better be conveyed by ten lines of print or ten bars of plain music. And as for ballet's being an "interpretation" of music; if the music accompanying a ballet is really good, it can stand on its own feet without interpretation...

Author: By Jonas Barish, | Title: THE MUSIC BOX | 11/21/1940 | See Source »

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