Word: vivid
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Dates: during 1940-1949
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...when Hollywood put it on celluloid, the story still holds good. True, it creaks in sports. The more lurid parts of Wyss's work had to be soft-pedaled and even then the final script was bogged down with verbiage as thick as the tropical vegetation. But such vivid scenes as the hurricane, the landing, the building of the tree house are still there. The fascinating escapism of the whole idea carries the picture over the rough spots and lands it safely among the better pictures of the year...
...vivid work of the senses by which Duncan explores the house, the April countryside and the consciousnesses around him is one of this novel's claims to distinction. But its serious drive is in a love affair between Duncan and Sophie-an affair begun by Sophie's perverse need and boredom, matured by Duncan's perception, patience and intelligence. The story suggests not only the particular value of the erotic experience for the blind man but the civilized human sanity of his conduct. And-since Author Heppenstall does not cheat, or barely does at the happy...
...Hardy's Wessex characters. Hardy of Wessex offers an excellent dossier on Hardy's weaknesses-his melodramatics, re-use of plots, gnarled syntax, dullnesses-gives only a fuzzy clue to the central Hardy enigma: How, out of his sardonic imagination and crabbed style, could come scenes so vivid, characters so memorable...
Last week the museum on the first floor of Secretary Harold Ickes' new, white, boxlike Department of the Interior Building in Washington was given over to an exhibition of Pioneer Jackson's aged photographs. Admired by public and connoisseurs alike were the vivid detail and panoramic scope of the mountain and forest views that Old Master Jackson had snap ped with his battered, wooden 6½-by-8½ camera in days when photography was scarcely more than a stunt. Best exhibit of all was spry Oldster Jackson himself, stooped and white-bearded but talkative and effervescent...
...Grapes of Wrath." transferred to celluloid, is the same vivid and upsetting and magnificent and ugly story that Steinbeck first wrote. Gone are the Steinbeck descriptions, gone are his cuss-words, gone is some of his message--but by and large Director John Ford has retained enough of Steinbeck to make the screen sizzle and the audience think...