Word: decorated
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Dates: during 1930-1939
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...look at the program was unnecessary to identify Shubert revues. Their hallmark was stage furnishings which suggested nothing so much as Eighth Avenue second-hand shops. The height of scenic imagination was usually a gauze drop behind which tottered in semidarkness a troupe of half-naked show girls. The decor of Life Begins at 8:40, turned out by the youngest and best man in the business, is no more like that of typical Shubert offerings than chicken salad is like chicken feed...
...Pickford, Otto H. Kahn, Dolores Del Rio, Leopold Stokowski, Henry Seidel Canby, Lord Duveen, Frank Sullivan, Katharine Hepburn, the young ladies of the Ballet Russe, Charles A. Lindbergh and most of the Rockefellers. Most critics went back next morning for a quieter look at the best exhibition of stage decor and costume ever held in the U. S.: 700 costume plates, plans, drawings and illuminated stage models, tracing the development of theatre art from 16th Century Venice to Broadway 1933. Assembler of this art show was Lee Simonson...
...Laughton himself; he is equal to every demand, be it lusty humour or Henry's regal kind of lechery, and he has made Henry, although a buffoon, a superbly consistent and human one. No comic possibility of the Tudor coarseness has been left unexplored, no detail in palatial decor neglected, no outlet for photographic ingenuity closed...
...Alfred Lunt and Lynn Fontanne in Robert E. Sherwood's play may be amused by the way John Barrymore makes Lunt's fiercely romantic posturings seem tame by comparison, and by the enigmatic inflections Diana Wynyard gives the role which Miss Fontanne made lusty and spectacular. The decor of MGM's expert Cedric Gibbons, the direction of Sidney Franklin and the clever casting of Frank Morgan, who looks a little like Barrymore, for the role of Dr. Krug all help to make the picture a suave and ingratiating transcription, which should repay in prestige what it loses...
Trouble in Paradise (Paramount) is a triumph of direction and decor which could have been accomplished only by that scowling, heavy-jowled Teuton who is Paramount's chief contribution to the civilized cinema, Ernst Lubitsch. As a rule, Director Lubitsch likes to run songs through his pictures, to accent moods and italicize bon mots. This time the songs are inaudible but they are somehow implied in the flavor of the picture?like the olive which can be tasted in a good Martini cocktail even when it is not there...