Word: tempo
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...camera hovers with loving grace over limpid, mirror-bright pools, trees like green-hooded knights, and the rumpled grandeur of blue-blanketed mountains. Ride the High Country has a rare honesty of script, performance and theme-that goodness is not a gift but a quest. In the unhurried tempo of their speech, their ease of bearing, the firm-lipped gravity of their faces. Actors McCrea and Scott give the action strength and substance. The western has always been a stance as well as a story, and when actors with the unforced dignity of McCrea and Scott go, the old breed...
...ragged column of Nazi conscripts marching toward Poland was suddenly startled when a middle-aged recruit dropped out of line, turned around, and started marching homeward at the same tempo. A sergeant barked at him to stop, but Painter Werner Gilles replied mildly and matter-of-factly, "That blackbird up in that tree just told me, 'No, no, Gilles, this can come to no good.' " In time, Adolf Hitler's army psychiatrists sent Gilles back to the safety of civilian life, but for the painter the talking blackbird had been as real as the barking sergeant...
...fast but not fast enough, discreet but not discreet enough. He had served four Presidents, mastered Churchill's stutter and Eisenhower's wayward syntax, but the new tempo of the White House was not his, and last week Official Stenographer Jack Romagna was unceremoniously fired. The sacking left correspondents morosely pondering a final, unanswered question: Was Romagna's fatal mistake marking the transcript of a presidential telephone talk "From the White House swimming pool...
Saroyan wrote this sort of ragpickers' polka, and so, in a quieter tempo, does Novelist Alma Stone. Her poor are the people of Manhattan's upper Broadway-watery-eyed men propped on their elbows in old. moneylosing bars, solitary old ladies who roost on park benches and share their tuna sandwiches with cats...
...preceded by four measures of 'adagio cantabile.' The harmonies and motives of these four measures contain the thematic material of the following two movements in embryonic form. Hellman saw to it that those materials flowered. Judging Beethoven's instruction, 'Allegro ma non troppo' aright, he chose a properly delberate tempo, then, at the appropriate spots, took liberties with it. In the second movement, he went beyond the bounds of loud and soft which had dulled the Bach, and nicely exploited the drama of (i.e., hammed up) the ending...