Word: stars
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Dates: during 1950-1959
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Pritchard, 44, a World War II fighter pilot and commander of the 49th Bomber Wing in Korea (Silver Star, D.F.C., Air Medal with twelve oakleaf clusters), was assigned to Iceland only two months ago, and was actually out of the country when the latest blowup happened. Both State and Defense Departments agreed that he had done a good job on his short tour, that his personal competence was not in question, but that the overriding consideration was a happy Iceland, where U.S. troops and the somewhat diffident Icelanders could get along together. Moreover, with the Communists offering a challenge...
...paper-thin as strudel crust. Her husband (O. E. Hasse), a vain, autocratic man of means, sees Lilli as a beautiful confirmation of his success. Along comes a handsome German-American playwright (Peter Van Eyck), who reminds Lilli of her former glory as a great actress, persuades her to star in his new drama about a nun who gets raped. Her psychiatrist decides that "somewhere in your mind there's a conflict," but everything is resolved when 1) Lilli has a therapeutic narcosis behind the padded doors of a neuological clinic, 2) the playwright makes love...
...star, irked by one mis play, is no hero by a hair...
Retaining Miss McKenna as a star, the C.D.F. next offered Macbeth. For the title role, it played a long shot by engaging Jason Robards, Jr. and lost. Although Robards' performances in 20th-century American works have been unbeatable, he proved himself as yet vocally unequipped to cope with the demands of Shakespearean language. He conveyed much through his face and eyes; and his delivery of some short, forceful phrases was admirable. But the longer speeches tripped him up; he could not convey the sense, the rhythm, and the grandeur. He breathed improperly, so that he often had to pause...
Jerome T. Kilty '49 returned to Wellesley to direct and star in his adaptation of Shaw's Man and Superman, which drama critic Elliot Norton '26 has called "the greatest comedy of the 20th century." An uncut performance would last eight hours, and most directors simply throw out the lengthy "Don Juan in Hell" interlude, which is the most brilliant four-way conversation ever written. Kilty's skillful blue-penciling enabled him to retain about an hour of the Hell scene, which makes the last act more meaningful since it refers to the infernal dialogue specifically...