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Word: zolas (lookup in dictionary) (lookup stats)
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...sometimes crude, but it has bigness and generous anger, and his too physical sense of reality is a limitation that helps to concentrate his force and sharpen his impact. At his best he has an earthy weight and vigor that suggest a more amenable Von Stroheim, a pocket Zola...

Author: /time Magazine | Title: Cinema: New Picture, Jul. 7, 1958 | 7/7/1958 | See Source »

...Navy plane whisked the young prince from Norfolk to Washington, where he was met at the airport by a full turnout from the Spanish embassy, headed by Royalist Ambassador Joseé Maria de Areilza. Also on hand was Newshen Win-zola McLendon of the Washington Post and Times Herald, who was all in a dither as she asked Juan Carlos what he thought of American girls. "Oh, very pretty," replied the prince gallantly. Winzola gushed later that his blue-green eyes had not only a twinkle, but "the LONGEST, CURLIEST lashes...

Author: /time Magazine | Title: SPAIN: Royalty Afloat | 5/19/1958 | See Source »

...hour-long Matinee Theater, the only daytime color TV show on any network, has launched dozens of new writers and a score of directors, given more roles to actors than MGM. Among its 29 tons of scripts, the show has adapted worthy works ranging from Jane Austen to Emile Zola. As a sheer piece of logistics, it has piled up phenomenal records: it has used 15,243 costumes, 4,203 settings, 210,103 props, and 9,035 gallons of coffee to keep the casts and crews rolling on. It seemed that Matinee Theater would roll on forever...

Author: /time Magazine | Title: Television: Matinee's Fadeout | 4/7/1958 | See Source »

Gervaise. The harrowing whole of Emile Zola's L'Assommoir is pretty much reduced to the sum of its amatory parts, in which Maria Schell is most appealing (TIME...

Author: /time Magazine | Title: Cinema: CURRENT & CHOICE, Apr. 7, 1958 | 4/7/1958 | See Source »

...recall, retrial, re-conviction, and eventual pardon, vindication and restoration to rank forms one of the most dramatic chapters in French history; but it makes the dullest part of this picture. In this part of the real story, the center of interest naturally shifts from Dreyfus to Emile Zola, Anatole France, Georges Clemenceau, Jean Jaurés, Maitre Labori and the other famous men who turned the Dreyfus Affair from a case into a cause. If only the camera had shifted with the interest, the picture might have built up an impressive concluding crescendo. Unfortunately, what would interest the moviegoer...

Author: /time Magazine | Title: Cinema: New Picture, Mar. 3, 1958 | 3/3/1958 | See Source »

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