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Died. Fannie Hurst, 78, one of the most popular, if not most highly acclaimed, U.S. woman authors in the past half-century; in Manhattan. To many critics she was the sob sister of American letters, and her 30 novels and countless short stories little more than glorified True Confessions pap-orphan servant girls (Lummox, 1923), the secret love of a married man (Back Street, 1930), mother love (Imitation of Life, 1933). But her novels sold many millions of copies, and magazines paid $70,000 for the serial rights. "What success I enjoy," she once said, "comes from my inner convictions...

Author: /time Magazine | Title: Milestones: Mar. 1, 1968 | 3/1/1968 | See Source »

...best of the year, but Brooks tricks it up with flashy dissolves-a bus becomes a moving train, a prostitute metamorphizes into Perry's mother-that give the film a slick and slippery surface. In Cold Blood, moreover, unnecessarily belabors the arguments against capital punishment by introducing a sob-brother journalist who wearyingly articulates the message...

Author: /time Magazine | Title: New Movies: Anatomy of a Murder | 12/22/1967 | See Source »

Viet Nam has become the profane cow of U.S. theater. Onstage it seems to inspire polemic frenzy, puerile logic and sob-opera bathos. That was true of the off-Broadway musical Viet Rock, and it is even truer of We Bombed In New Haven, a first play by Joseph Heller, whose Catch-22 was a novel of comic pitchblende. His lackluster drama is a kind of catchall-22, a wastebasket version of antiwar cliches too feeble for use in the novel. While the production is securely mounted by the Yale School of Drama Repertory Theater, student actors are scarcely...

Author: /time Magazine | Title: Repertory: Catchall-22 | 12/15/1967 | See Source »

...with passionate disorganization: breaks between acts stretched out to 45 minutes, while bumps, crashes and muffled Italian curses were heard through the curtain. The productions themselves often recalled the bad old days when tempos dawdled indulgently, singers postured in front of improbable sets and acting was of the clutch-sob-and-stagger school. But by sticking to the 19th century Italian repertory and putting it over with some splendidly full-throated singing, the company also evoked the good old days, when Verdi and Puccini called La Scala home, when such singers as Enrico Caruso and Adelina Patti blossomed there...

Author: /time Magazine | Title: Opera: The Power of Positive Vocalizing | 10/20/1967 | See Source »

...carries a nostalgic note that surfaces in an unexpected frame of reference. Like ART'S recollection of the sad night in May, 1925, in the old Madison Square Garden, which was about to be demolished. There was Boxing Announcer Joe Humphreys, bellowing at the crowd with a genuine sob in his voice, delivering an ode to the Garden and the gilded copper nude that stood atop it: "Farewell to thee, O Temple of Fistiana, farewell to thee, O sweet Miss Diana...

Author: /time Magazine | Title: A Letter From The Publisher: Sep. 1, 1967 | 9/1/1967 | See Source »

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