Word: viewer
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Dates: during 1950-1959
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...machine-gunned, young ladies not being violated and Clive Brook not being fantastically cool as he thrashes some bounder, the rest of the passengers take up the slack with much interesting chatter. There is a nice old lady who may, or may not, be a madame, depending on the viewer's state of mind, a disgraced French officer, an American gambler, a missionary, and an unpleasant German opium dealer. All these help make Shanghai Express a picture that, although it begins slowly, chugs its way into a lot of excitement and interest...
Next came a fat saddlebag full of westerns. On Tuesday night a viewer could find hardly anything but six-shooters and cowpunchers. Armstrong Circle Theater proved again that the good guy can always outshoot the bad guy; Danger tried hard to mix comedy with its gun fighting in The Last Duel in Virginia City, while Elgin Hour presented Black Eagle Pass, a homily on the evils of bigamy in the Far West. Paul Douglas got a single-tracked power into his role of the blackmailed and misunderstood bigamist, and the Western setting was apparently justified in the last act when...
Part of the time, Great to Be Back! means exactly that. But much of the time it does not, and there's the rub--the wrong way. The material which is out-and-out bad regrettably is heaped together at the beginning, so audience morale lags and the viewer watches even the best material dubiously, certain that it can't last long...
...substance, serious, determined, but not quite as scintillating as the rest of the panel. When he does solve a contestant's trade, he is likely to worry the problem like a dog with a bone, asking repeated questions long after it is obvious to even the dullest viewer that he knows the answer. Cerf's apparent function is to slow down the headlong pace of the game. He does it almost too well...
...pictures relate to no particular school or fashion, carry no message. They are not meant to stun, dazzle, or instruct the viewer, but simply to be enjoyed. Gerassi clearly enjoyed painting each one. They have the brightness, boldness and paradoxical vagueness that six-year-olds generally bring to painting, but behind the pictures' ebullience lies a highly sophisticated intelligence. Gerassi's Magic Mountains (right) is done with rockbottom economy of means: a few horizontal stripes, one with a sawtooth edge. To those who demand recognizable details, it may seem little more than a close-up of a rusty...