Word: timed
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Dates: during 1950-1959
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Taboos of the Tube. For writers, too, the Private Eye shows make a socko source of income. For them, the big trick is the art of telling a story without tripping over the plot. The picture on the tube cries for action; the detective who takes time out to think becomes tedious. It was different on radio, says Writer-Producer Dick Carr, a veteran of radio's Richard Diamond and now a writer on TV's Staccato. "In radio you could always use a narrator to tie up the loose ends. I could cover any hour TV show...
...weekend in New England, accepted a subpoena to testify when the Washington hearings resume Nov. 2). Growing recognition of the networks' irresponsibility (notably their willingness to let packagers control much of their entertainment fare) put in question the ethics of the television industry in general. For the first time, the U.S. was forced to think about the philosophy that lies behind the picture tube as well as the character of those who sit in front...
...story, it is pleasantly entertaining. It is good to see Paul Muni again-Stranger on the Prowl (1953) was his last picture-and the folksy, matzo-barrel humor is fun. Unfortunately, the picture tells Sam's story for only 20 minutes or so. The rest of the time (about 80 minutes) the audience watches a big wheel (David Wayne) go round in circles trying to get Sam to appear on television and talk pretty for the people. Sam himself makes the only adequate comment on all this. He gets so sick and tired of the television types that...
...Best of Everything (20th Century-Fox), based on Rona Jaffe's bestselling novel (TIME. Sept. 15, 1958), tells what happens to the bright young things from college that come wriggling down to Manhattan to get in The Big Swim. They land in The Typing Pool. And from there, it is only another wriggle to The Flesh Pot. Compared with the hot buttered Manhattan of Authoress Jaffe's imagination, the Hollywood version of the big city is a sort of cautiously diluted Scotch-and-Sodom. Nevertheless, a virgin's virtue can dissolve with appalling celerity in this sinister...
Changed Scene. Outstanding among the young realists is 31-year-old John Bratby (TIME, March 12, 1956), who was called in to paint Gulley Jimson's big-footed canvases in the film version of Joyce Gary's The Horse's Mouth. "It's illogical and mad," Bratby confessed afterwards, "and springs from God knows where, but when the spotlight's on me, I feel enormously encouraged." Last week the spotlight was on Bratby again, with a show in London's Zwemmer Gallery of 28 new oils, turned out at a stupendous clip...