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Word: versions (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

...output of feature movies. The 18-acre Roach lot, once used for such movie epics as Joan of Arc and Of Mice and Men, now gives houseroom to TV's Amos 'n' Andy, Trouble with Father (featuring Stu Erwin), Racket Squad, Mystery Theater, and a filmed version of Beulah...

Author: /time Magazine | Title: Radio: Hollywood Is Humming | 10/29/1951 | See Source »

...Opera Theater (Thurs. 11p.m., NBC). Offenbach's R.S.V.P. (an English version of M. Choufleuri-), with Larry Weber, Virginia Haskins, Paul Franke...

Author: /time Magazine | Title: RADIO: Program Preview, Oct. 29, 1951 | 10/29/1951 | See Source »

...snobbish advertising heralded the advent of a new $2-a-copy quarterly, Gentry, which appeared last week, sponsored by Manhattan's Reporter Publications. The new magazine did not quite live up to its billing ("There is nothing in the world like it"). It looked rather like a masculine version of Fleur Cowles's late, ill-starred Flair. It looked even more like the fancy and expensive ($3 a copy) trade quarterly, American Fabrics, also published by Reporter Publications. Gentry abounded in detachable inserts (an architect's plans for a Finnish steam bath, a 16-page portfolio...

Author: /time Magazine | Title: The Press: Magazine for Special Men | 10/29/1951 | See Source »

Brando's dominant position in the film version of "A Streetcar Named Desire" probably owes little to Tennessee Williams, who wrote both play and movie. Williams made almost no changes in adapting "Streetcar" to the screen, for reasons easy to understand. After setting every line in place in one of the most carefully structured plays on the modern stage, it was too much to expect that the author might try to create an essentially different work of art in the new medium. Instead the dialogue and plot follow the play almost exactly, and nearly all action is within the confines...

Author: By Daniel Ellsberg, | Title: The Moviegoer | 10/25/1951 | See Source »

Almost a decade has passed since Sidney Bechet replaced Louis Armstrong as the unquestioned King of Jazz. Bechet is a complete original. He invented his own instrument, the soprano saxophone, a metal clarinet which is both reedier and brassier than the wooden version. With it he produces soaring, melodious, and fanciful clarinet passeges; deep, throaty, and emotional "trombone" interjections; and the clear, fiercely driving attack associated with the trumpet. Usually he does all at once, with a tone so magnificent one feels he could drive a truck down it and with such imagination and variety that one actually...

Author: By Andrew E. Norman, | Title: The Jazzgoer | 10/22/1951 | See Source »

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