Word: sorted
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Dates: during 1950-1959
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...very lucky man," said Rumania's burly, egotistical Petru Groza, "a sort of modern Midas." Born wealthy, he owned huge estates, was a director of many companies, served as a minister in the archconservative Cabinets after World War I, was a deputy in the Synod of the Rumanian Orthodox Church. In 1927 came the great change; Millionaire Groza abruptly abandoned what he called the "Sodom and Gomorrah" of Rumanian politics, retired to his Transylvanian estates, led a lusty Rabelaisian life and, in his words, "learned to think dialectically." Translation: Groza, an opportunist of agility, saw Russia as a coming...
With The Chairs and The Lesson, Rumanian-French Eugene Ionesco, whose work has been about equally hailed for its meaning and hooted for lack of any, had his first professional Manhattan hearing. In The Chairs, dubbed "a tragic farce," an aged couple who live in a sort of wave-washed fortress give a party for a horde of guests who are only so many chairs. After the old man (Eli Wallach) has delivered a "message" about the world, he and his wife throw themselves into the water. Swimming in symbolism, The Chairs readily enough suggests people's enisled fate...
Taking the keys from easygoing, Arkansas-born Ed Stone, Hanisch made his way inside to an even bigger surprise. Instead of the confined central shaft that he had seen in the early plans, he found himself looking out over a spacious patio or Roman atrium, a sort of immense Pompeian inner court, to be used as a dining area, with three huge, gold-colored saucers overflowing with vines and ferns suspended at varying heights, and with mother-of-pearl light globes, which seemed to float, for illumination. It was a sight fit for a maharajah's eyes; said Industrialist...
...What sort of courses have the greatest appeal? Typing is up 19%, shorthand 7½%, and something called Office Practice a huge 139%. Orchestra-i.e., serious instrumental music-is down 27%, but Band is up 138%. The fastest growing course of all: Driver Education, which now has seven times as many pupils as it did ten years...
Director Preminger has done well with his actors, too. David Niven is remarkable as the sort of rake that accumulates his life in his face, like a pile of dead leaves. Deborah Kerr provides one transcendent scene in which, as she overhears her man with another woman, her prim, pretty English face breaks up like a cooky in the fingers of a child. And Jean Seberg, rebounding from her disastrous debut as Joan of Arc (TIME, July 1), blooms with just the right suggestion of unhealthy freshness, a cemetery flower...