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Word: toning (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

...felt the full fury of the war. Adolf Hitler's proclamation was full of accusation of Russian double-dealing and Russia's Foreign Commissar Viacheslav Mikhailovich Molotov retorted in kind. The accusations were unimportant. In the charges of neither side was there even a tone of surprise. They had never trusted each other. In the timetable of German-Russian relations since the Non-Aggression Pact of August 1939 (see col. 3) could be read the progressive failure of Stalin's political marriage of convenience. Now Hitler had turned...

Author: /time Magazine | Title: Germany: World or Ruin | 6/30/1941 | See Source »

Adopted. By Joan Crawford, 33, ex-wife of Franchot Tone and Douglas Fairbanks Jr.: a five-month-old boy, named Christopher, She already had a two-year-old adopted daughter Christina...

Author: /time Magazine | Title: Milestones, Jun. 23, 1941 | 6/23/1941 | See Source »

...Spain. After his death Peggy married an Italian dancing master who stole her money and eloped with her granddaughter. Her old age was desolate. In the 1936 motion picture, The Gorgeous Hussy, Peggy's part was played by Joan Crawford; John Henry Eaton's by Franchot Tone...

Author: /time Magazine | Title: Letters, Jun. 16, 1941 | 6/16/1941 | See Source »

...conference there was scarcely more than a murmur against the Government's military or economic conduct. The tone of the Party leaders was set by the fervent rhetoric of Lord Privy Seal Clement Richard Attlee, which might well have come from a Conservative mouth: "All members of the Government are absolutely united. . . . There can be no parleying. There is no way out but the destruction of Hitlerism...

Author: /time Magazine | Title: GREAT BRITAIN: Churchill and Bevin under Fire | 6/16/1941 | See Source »

Perforce Director Rouben Mamoulian substitutes spectacle and color for the story in Blood and Sand II. His film artfully goes from low to high key as it takes its color tone from the palettes of the Spanish masters: the somber browns of Murillo for the opening sequence; the shade and shine of Sorolla for the market scenes; El Greco's eerie greens in the chapel; Velasquez' black & white for the banquet; and the rich red & gold of Goya for the arena...

Author: /time Magazine | Title: The New Pictures, Jun. 9, 1941 | 6/9/1941 | See Source »

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