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Like masters of more exalted arts, Cartoonist Walt Kelly succeeded in turning an imaginary landscape into a public preserve. With pen and wit he put together the world of Pogo, an inspired amalgam of bogs, hollow stumps, hog-jowl dialect and cheery absurdity. There, over 150 anthropomorphic critters gnawed away at the English language, baring kernels of political meaning, and carried on not-so-innocent satires of human pomposity. Phineas T. Bridgeport, the Barnum of bears, orated in billboard letters that burlesqued hucksterism everywhere. "Nuclear physics ain't so new and it ain't so clear," declared Rowland...

Author: /time Magazine | Title: The Press: Bard of Okefenokee | 10/29/1973 | See Source »

...excellent Rossellini retrospective at Harvard-Epworth continues with Stromboli, and Currier House's Fellini series offers La Strada [The Road, 1956), the table of a half-wit peasant girl (Giulietta Masina) sold into slavery and gradually driven mad, with Anthony Quinn's and Richard Basehart's finest performances, and Fellini Satyricon as a Halloween treat (or trick...

Author: NO WRITER ATTRIBUTED | Title: screen | 10/25/1973 | See Source »

...Admiral José Torbio Merino Castro, 58, comes from a family with a long naval tradition (an uncle was chief of the Chilean navy in the 1950s). Merino's passions include philately and anti-Marxism. His violent opposition to the left is sometimes expressed with a certain wit. Says he: "To call Karl Marx a philosopher is to overvalue him. He tried to be an economist...

Author: /time Magazine | Title: CHILE: Strangelovian Scenario | 10/15/1973 | See Source »

There are also some excellent performances, especially by Cortèse and Baye, and Truffaut's style flows easily. Day for Night has grace, wit and affection enough to be one of the fondest compliments the movies have ever been paid-a tribute to all the dream spinners by one of the best...

Author: /time Magazine | Title: Cinema: A Sly, Loving Tribute to Film Making | 10/15/1973 | See Source »

...exactly this nostalgia, this weight of film's past, that makes Truffaut the cineaste dangerous to Truffaut the director. It has made Day for Night, for all its wit and cleverness, fundamentally a failure. Once, Truffaut led the way out of the past; now he seems to have hardened. The use of color, for instance, is practically an economic imperative now, but Truffaut favors the medium in which all his favorite directors worked, black and white. Truffaut's color films, especially the last two or three, have been seriously harmed by his refusal to admit that the color is there...

Author: By Phil Patton, | Title: Directing the Director | 10/12/1973 | See Source »

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