Word: widowing
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...week in Athens packed houses were howling, hissing, booing and whistling in disgust. Zorba the Greek was having its first showings. What the audiences took most unkindly to were scenes that portrayed the people of a small village in Crete uniting to support the knife slaying of a young widow outside church and the robbing of a harlot on her deathbed. "Cretans should do something. This is disgraceful," declared Athens' daily Estia. The Pan-Cretan Union in Athens declared the film monstrous and insulting...
...whole thing was just a bit much for Eleni Kazantzakis, however. Widow of Nikos Kazantzakis, author of the book on which the movie is based, she angrily responded: "Greeks resent being told that 60 years ago in a Cretan village simple peasants behaved inelegantly toward a dead woman. They forget my dead husband, whose tombstone in Crete was covered with excrement every day for years...
Died. Mae Murray, 75, blonde queen of Hollywood's Babylonian babyhood, who danced out of the Ziegfeld Follies into an endless string of silent-movie romances, most notably Erich Von Stroheim's 1925 The Merry Widow; of a stroke; in Woodland Hills, Calif. In love with her own publicity, she was a prototype and prisoner of stardom-"the girl with the bee-stung lips," who rode around in a gold-fitted Rolls, with sable rugs and liveried footmen, waltzed through four marriages and squandered $3,000,000 in the space of eight years. "I shall dance...
Pretty Polly, the first of these three medium-length tales, is that rare bird, a story that celebrates the joys of breaking taboos without ever once dishing out comeuppance griefs. Mrs. Capper's Birthday is a gentle portrait of a World War II widow who has never quite adjusted to life without "Fred." Me and the Girls is a grim little account of the last reflections of a third-rate homo sexual entertainer dying of cancer. Not the gay Coward...
...four seasoned movie queens-three of them ready to let down their hair, hips, waistlines, bustlines, or anything else that might suit an unseemly occasion. The tidy one is Actress de Havilland, who flings away her composure but retains her chic. As the murdered lover's widow, Mary Astor offers an ashen portrait of a woman who is not quite dead but already appears embalmed. Oscar Nominee Agnes Moorehead, as Charlotte's loyal drudge is a snarling, scratching sound-and-sight gag who seems determined to out-overact the best of them. But Bette meets the challenge...