Word: songs
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Dates: during 1950-1959
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Durable Cinemactress Joan Crawford, doing her first song & dance role in 13 years in MGM's Technicolored Torch Song, struck a barstool pose with her French poodle to give shapely proof that the famed Crawford legs are still worth the price of admission...
...reconsider the council's action, "taken after . . . consideration too brief for so grave a matter." The heads of all student organizations also protested, then summoned a student rally. All in all, it was like old times at Chicago-but with the revolution going the other way. Latest theme song of disgruntled students...
...Chorus of Prudes sings of happy leisure and innocent pleasure, but an amorous soprano ridicules the prudes and claims she can sing a song that will seduce all listeners. She proves this by means of a drowsy Harvard-type matematician who reluctantly succumbs to her mating-call. Enter two Satyrs on the make. Unable to find suitable females (the chorus is full of "dried up wretches") they sublimate with a bottle of wine, after invoking the services of a good-natured Bacchus. The Soprano decides that the conquest of a god would give immortal proof of her powers. The Satyrs...
...things these three tales have in common are a supernatural fizz and heavy-handed direction. Director Julien Duvivier (Un Carnet du Bal, Tales of Manhattan) pioneered the splicing art, but he keeps fantasy firmly earthbound in this 1943 effort. Granted, the writing is usually abominable ("Remember the boatman's song at twilight at Amalfi, the scent of orange blossoms on the road to Damascus," etc., etc.), but the absence of a light touch accentuates triteness and makes the melodrama ludicrous. Although Robert Benchley amusingly bridges the three tales, Duvivier seems to take the stories themselves far too seriously. In fact...
...Francis Boot Prize for 1952-53 was given to Peter T. Westergaard '53 for his "Song for Small Chorus and Three Wind Instruments on a text by John Skelton." The amount of the prize...