Word: warlock
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Dates: during 1950-1959
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...movies shown to President Eisenhower and Premier Khrushchev the night of their arrival at Camp David have been identified. Pravda reports that Mr. K requested, and was shown, a film of the Nautilus' voyage under the polar icecap. The President requested, and was shown, a western called "Warlock." One of those present told the Times that the movies was "very long, very bloody, very dull." This reporter saw "Warlock," and concurs. (New York Times, 10/19/59...
...Warlock (20th Century-Fox) is a two-hour, $2,000,000 western with three major stars (Richard Widmark, Henry Fonda, Anthony Quinn), two main heroes, two main villains, three main plots, five subplots, eight cooling corpses, and nine major outbreaks of violence. Hero No. 1 (Fonda), a sort of Good Bad Guy, is a notorious gunman who wears gold-handled Colts. The townspeople of Warlock ask him to protect them from Villain No. 1 (Tom Drake), a Bad Bad Guy with a slow sneer, a fast draw, and plenty of sneaking dry-gulchers on his payroll. Unfortunately, Hero...
...devil was abroad in Salem all right, but he was not in the witches. He was in the people who burned the witches." TIME [Jan.5] should know that no witch, wizard or warlock was burned in the Salem-New England madness. They were either imprisoned or hanged, with the exception of one man who was pressed to death...
After intermission, Elliot Forbes, conductor of the Glee Club and Choral Society, conducted a group of Christmas pieces, including a large group of modern works, and ending with three carols by Peter Warlock, whose orchestration sounded like something out of Hollywood. But they were an effective finish to a very enjoyable concert, and sent the audience home cheerful and happy...
...audience, my favorite songs were "Heart" and "Those Were the Good Old Days" which were dished up in uneven helpings, it seemed. "Heart" is pumped a little too much, especially with two reprises in the second act. And Good Old Days," a gruesome duet between the witch and the warlock, is lost in the welter of first act brilliance. Expanding the number and moving it to early after intermission--before Lola begins to soften--would strengthen the whole last half of the show...