Word: wellman
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SPAWN OF EVIL by Paul I. Wellman. 350 pages. Doubleday...
Strong Base. At the same time, no one really expects Johnson to depart far from the economic policies of the Kennedy Administration. Charles Wellman, president of Los Angeles' First Charter Financial Corp., spoke for many businessmen: "President Kennedy and Lyndon Johnson thought alike on most issues. In a short while there will be a return to the status quo in the economy." Most businessmen expect Johnson to continue his longtime emphasis on expansive defense spending. They also expect him to push a tax cut, and feel that his legislative abilities may improve its chances of passing...
Sonate a Trois, based on Jean Paul Sartre's No Exit, was the only offering at Central Park that made demands on company and audience. Peter Cazalet, Hazel Merry and Sylvia Wellman danced their eternal season in hell with affecting desolation, though Choreographer Maurice Bejart's strained balletic invention at one point reduced them to peering dolefully through the symbolically barred backs of chairs. Returning to Jacob's Pillow, the company put on The Wedding Present, an emotionally charged dance drama with homosexual overtones, about the crackup of a marriage. A dance shocker, of a sort...
Plot ain't much. By James Edward Grant (The Alamo) and Clair Huffaker, out of a novel by Paul I. Wellman, the script describes how John Wayne and Stuart Whitman make buzzard meat out of, oh, about 700 greasy renegades-yellow-bellied skunks running guns to the Comanches. (Actually, Big John does the job by himself. Stu is like the human figure beside the geography-book whale; he just sort of stands there to show how big Big John really is.) But in this western the bald theme matters less than the hairy variations. Item: the big bold badman...
...Cooper, a sort of Abe Lincoln in Levi's, and John Wayne, a smoke-wagon Siegfried, represented in different ways a more mature attempt on the part of the western hero to behave like a man. And in such pictures as John Ford's Stagecoach and William Wellman's The Ox-Bow Incident, the mythological struggle between Good and Evil was enacted on the personal plane; while in George Stevens' Shane and in Fred Zinnemann's High Noon, the western hero for the first time in movie history had to face what that struggle really...