Word: stage
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Dates: during 1940-1949
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...snow, night and, above all, naval secrecy obscured the problem. Britain's "heavy stuff" (battleships and battle cruisers) lay over the horizon in the North Sea waiting for cruisers to call the cues. Cruisers in turn waited for destroy ers, airplanes, submarines to set the stage...
...drums or double them up in agony with a high note from the violins, Bell Telephone Laboratories now offers him an opportunity by new "stereophonic" recordings, on motion-picture film, of "enhanced"' music. In stereophonic recording, sound is picked up by three microphones widely separated on the sound stage, to produce an illusion of tonal depth and space comparable to that of an actual performance. It may then be "enhanced" by a conductor, taking the stereophonic recording and fiddling with various mixers to bring out clearer tonal qualities and greater masses of sound on the ultimate sound track...
Night after the Germans pounced on Scandinavia last week, Norwegian Soprano Kirsten Flagstad. Swedish Contralto Kerstin Thorborg, Danish Tenor Lauritz Melchior and German Baritone Herbert Janssen sang together in Wagner's Tannhäuser in Cleveland. Their audience felt a tenseness on the stage. They did not know that Soprano Flagstad had been trying, unsuccessfully, to get in touch by telephone and cable with her husband, daughter, mother and sister in Oslo. The curtain went down on the final swellings of the Pilgrims' Chorus. Flagstad & Co. bowed at something bigger than most opera singers ever see: an auditorium...
...this sequel to his old-time success "The Tavern", the author tells us that he is presenting an "American Melodramatic Satire". For a scant two hours or so, the Vagabond (Mr. Cohan, if you have not divined so already) directs in entertainingly unorthodox manner a very orthodox group of stage people through the intricate contortions of a melodrama to end all melodramas. Bank robbers, policemen, governors, midgets, and fascinatingly naive young ladies put themselves completely in the hands of the Tavern's unidentified guest, and he has them caper about in the fashion most likely to please his laughing audience...
Producer David O. Selznick has seen to it that Rebecca follows Daphne du Maurier's novel as faithfully as Gone With the Wind followed Margaret Mitchell's. So Director Hitchcock faced the usual problem of filming a wordy book -how to convey long-winded off-stage narrative background without slowing up the fast-moving camera. Out of this handicap Director Hitchcock makes his most exciting scenes. Touching are Joan Fontaine's half-apologetic, half-reluctant reminiscences about her artist father...