Word: talents
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Dates: during 1950-1959
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Eleven years ago in the predawn of TV, Milton Berle mused: "I'm not the manufactured Broadway comedian any more. I'm going back, back to my real talent. I began as a dramatic actor, you know." Instead, for eight razzle-dazzle years in which they both became U.S. living-room fixtures, TV made him a prisoner of comedy. Last week, after two years of well-paid retirement as a television personality,* Berle, 49, finally went back to his "real talent...
...America stinks more than once; maybe, if you're good at stringing words together, you can say it twice. But if you want to fill a volume of poetry you have to start thinking about why America stinks. The humor of Patchen indicates a great deal of talent; one could wish he'd forget his sophomoric, tragically bombastic approach to America and look around for a while to find what makes it the way it is. Comedy is a thing that nobody will bother to argue; the damnation of the American cities or art or conformity are things lots...
...actor on the stage in the extremely difficult part as the lover of the Bride. As his wife, Roz Faber likewise shows superb comprehension of her role. Gloria DePiero plays a comely Bride, but she is guilty of extreme overacting at times. And Olympia Dukakis shows some sign of talent as the servant woman who acts almost as a classical chorus. However her Brookline accent detracts from her performance. Edward Zang gives a nice and largely unaffected performance as the Bride's father...
Duke Alfonso I d'Este of Ferrara and his wife, Lucrezia Borgia. Bellini had called on the young talent of Titian to help finish the great canvas. After Bellini's death in 1516, Titian-who became the new Venetian master-won the commission to paint three other large, allegorical paintings for the duke's Renaissance study. As an added service, Titian repainted sections of the Feast to make it accord with the more luxury-loving tastes of his time-and, incidentally, to accord more with his own oils...
...Jesuit fathers of his school have seen a boy of talent and want him for their own. The boy passionately wants to accept his vocation, but the devil presents himself in female form-specifically in the guise of a steamy 35-year-old woman, a friend of the family but no friend to chastity. In relatively few lines, Soldati carpenters a cross for his hero. Should he have faith in his passion or give up his passion for the faith? Neither his mother, plagued by desires of her own, his pious grandmother, his innocent playmates, nor his latently homosexual confessor...