Word: twentieths
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Dates: during 1930-1939
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...Twentieth Century (Columbia). This febrile saga of a journey on New York Central's crack train was a Broadway success last year (TIME, Jan. 9, 1933). Authors Ben Hecht and Charles MacArthur transcribed it into cinema by thinking up new and fantastic situations, by enlarging to heroic proportions the frenzied, egomaniac character of Impresario Oscar Jaffe (John Barrymore), and by detailing the way he discovers a lingerie model named Mildred Plotka (Carole Lombard), turns her into Lily Garland the Great Actress, bullies her and loses her to Hollywood. Thereafter Jaffe, who resembles Morris Gest, Richard Bennett, Josef von Sternberg...
When he boards the Twentieth Century Limited for New York with his tippling press agent (Roscoe Karns) and his fretful business manager (Walter Connolly), Lily Garland turns up in the next compartment. Their entire trip is consumed in efforts to get her signature on a contract. The appearance in his car of two guttural-voiced "beards" whirls Jaffe into an inspiration. He will produce the Passion Play of which they are members, adding dervishes, camels, elephants, an ibis and Lily Garland as Magdalen. Jaffe finds a willing backer in a religious fanatic (Etienne Girardot) who has delusions of wealth...
...fourth in a series of exhibitions of French drawings and prints will open on Saturday, May 5, at the Fogg Art Museunt. Miss Agnes Mongan of the museum staff is arranging this special loan exhibition, which will include the works of some twentieth century masters...
...decision accords with the moral standards of the fifth century B.C. and of the twentieth century A.D. its nature is obvious: for the play is based upon ideas taken from several Greek myths, those concerning the Argonauts' adventures and the life of Persephone. Thus it is mainly a modern symbolic expression of age-firm Greek ideas analogous to those contained in the "Medea" of Euripides. President Comstock's objection passes over the expression and concerns the characters themselves, so that it must rest ultimately upon the Greek sources of the play...
While by knowledge and actual practice he is well qualified to expound ultra-modern harmony, Professor Piston confines most of his discussion to what he calls "the common practice" of the eighteenth and nineteenth centuries. "The technical study of the diversified and apparently unrelated idioms of the twentieth century composers is most logically approached through a clear conception of what harmonic practice has been throughout the preceding two hundred years." The student is led to a more enlightened attitude toward the "rules" by such wise statements as the following: "the so-called rules of harmony represent what is done...