Word: villainously
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Dates: during 1930-1939
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...warfare continues against an unwholesome Paris gallery of reporters, U. S. dress buyers, tennis champions, and one superb banjo-playing Southerner. In a final scene Keating and Williams disguise the fact that they are glad to be together again by burlesquing an old-fashioned cinema situation. Keating as the villain pretends to usher her into his mountain hunting lodge, offer her a drink. Williams as the innocent young girl pretends to go behind a screen, take off her wet clothes, put on her dressing gown. She enacts a mock defense of her chastity until Keating embraces her in a final...
...play concerns an actress (Margalo Gillmore) who is revisited by her deplorable husband, Stanley Vance (Ernest Milton), a homosexual masochist and the most despicable villain who has set foot on the stage since Simon Legree. Returning from a long disappearance, Vance begins to exert his baleful influence over Miss Gillmore, a spell from which she had just recovered. He makes her tie his shoes, hustle for his breakfast, breaks her spirit. Both her brother (kinetic Basil Sydney) and her manager who loves her (William Harrigan) have good reason to kill Vance. But the job is finally done very adroitly...
...this book is no brief for or against Zionism, the Arabs or the British mandate. Author Zweig, a Jew, writes not as a Zionist or an Agudist. His chief characters are of different races, different creeds. A good novelist, he never takes sides, and there is no villain in the book. Scene of De Vriendt Goes Home is narrower than The Case of Sergeant Grischa's, but its theme is as wide: tolerance...
...unprincipled villain named Sevilla (Stiano Braggiotti) is about to lure away to Paris Betty Findon (Daphne Warren Wilson), an impressionable young woman who does not know the horrid fate which awaits her in South America. Her childhood sweetheart, Colin Derwent (Bramwell Fletcher, a capable young Englishman returned to Broadway from Hollywood), can save her only by murdering Sevilla. A barrister, young Derwent has to use all the tricks his quick mind can provide to save himself from the gallows...
...Miss Hepburn's "Ada Lovelace" does not follow the crudities of the old pattern. She is, and believably, intelligent yet naive, talented yet over-ambitious. The smooth gentleman of the tragedy (Adolphe Menjou) is no villain, but a great producer and an excellent fellow whose large acquaintance with chorus-girls has made him a poor judge of Eva's infatuation. It is all very natural: no heroics, no shot-guns are in order. The situation is restrained and therefore really moving...