Word: themes
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Dates: during 1940-1949
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Realizing, perhaps, that his theme wasn't quite capable of sustaining "Heartsong" through an entire evening, Mr. Laurents was wise enough to write in a part for Shirley Booth, a competent comedienne from Hartford. When she was permitted to stick to her element, Miss Booth, who can make almost any line seem funny, managed to carry the play. But when she was obliged to join in with the rest of the cast in thrashing out the problems of marriage, Miss Booth sank to the same level of purpose-lessness that here colleagues and the author had established...
...Ramblers: Jimmy and Tommy Dorsey, Adrian Rollini). Weems soon started a band of his own, specializing in what he calls "businessman's bounce." His College Inn audience last week was mostly people in their late 30s or early 40s, who got nostalgic memories when Weems played his old theme song, Out of the Night, and could remember the last time Heartaches...
...Cinemadventuress Veronica Lake smothered it with her mink coat, was forced to appear in furs borrowed from a friend. Frank Sinatra was bedded in Acapulco, Mexico, with intestinal trouble and a high fever. Crooner Dick Haymes went to bed for a week with sinus trouble. Trombonist Jack Teagarden, whose theme song is I've Got a Right to Sing the Blues, was sued for divorce. Errol Flynn, back to Hollywood from Jamaica for the birth of his second wife's second child, had a broken foot (from tennis, he said...
...eyes; a doctor (Elwyn Brook-Jones) patches him up for the sake of his own lost pride; the third man (F. J. McCormick) schemes to sell him to the highest bidder. Under these frenzied circumstances, the delirious hero shouts his own conversion and the story's master theme: "Though I speak with the tongues of men and of angels and have not charity, I am become as sounding brass . . . and though I have all faith, so that I could remove mountains, and have not charity, I am nothing...
...many black-&-white details. The crowded misery of the people, their toughness, the splendor of the theater, which Ferguson calls "the opium of the people," a wide scale of Moscow types from factory worker to Red Army marshal, are rendered with fidelity and perception. The book's unifying theme is fear-the fear in which all these people live...