Word: tessa
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Dates: during 1920-1929
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...book. But none of these flaws is important. What was good in the story is alive in the film too?the emotion of something wild beating against influences arranged to tame it. A woman named Mabel Poulton, who used to be a stenographer in London, plays the part of Tessa, the composer's daughter who remembers the thundering music of mountainsides too well to endure the organized drabness of a Brussels pension. Best shot: Miss Poulton standing wearily in front of the window out of which she is going to jump before she struggles, with dismayed and frantic awkwardness...
...chien" and who despised the chows as stupid foreigners, bristled at the news, but not in anger. A tremor passed down the lupine spine off big Boris, too, and that very afternoon he was so sentimental about Rennie's glossy brown coat and hang-down ears that Tessa, his Russian-temperamental fiancee, bit him on all four legs. Golden Toes had no idea what it was all about and disported himself as usual, taunting his sister, Poppit-"Runt-o! Runt you are!" he would bark-and tumbling over his own ears. But the others were subtly changed-Tessa into...
...Tessa fell in love at her one brief glimpse of the sleek visitor. During the two nights and a day that he was closeted with Rennie, Tessa the Seductive, the Disdainful, was even reduced to writing him poetry and in her abandon asked Toes, who rolled with mirth, what rhymed with "spaniel." That was why Kim sarcastically called him the Dark Gentleman of the Sonnets and part of the reason that Boris nearly ripped out his silky black throat; would have, too, but for the Savory Legs (Italian gardener). The Dark Gentleman flaunted his scars to the French poodle next...
Born. To Basil Dean, co-dramatist with Margaret Kennedy of The Constant Nymph (TIME, Dec. 20), and Mrs. Dean (onetime Lady Mercy Greville, daughter of the Dowager Countess of Warwick) ; a daughter (9 Ib.) in London. Playwright Dean cabled a wish she should be named Tessa, after the heroine of the play...
...omit further unfair comparison of mediums, the play is powerful on its own plane. Of a moving generality it makes a convincing particular. Actor Glenn Anders as Dodd does not come up to London's frenzied descriptions of Noel Coward in that part, but Edna Best's Tessa in London could not have far surpassed the performance of Beatrix Thomson, quaint, perhaps too pretty, but subtly pigeontoed. It is said that all Broadway was combed to find an ingenue who knew what a constant nymph was, without success. Miss Thomson, daughter of a British army colonel, is the wife...