Word: playwrights
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Dates: during 1950-1959
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...Loss of Roses finds Playwright William (Picnic) Inge once again in the Middle West of a generation ago, portraying troubled, torn, anonymous lives. This time, he considers the jangled relationship between a widow (Betty Field) and her 21-year-old son (Warren Beatty), and what happens when an out-of-work tent-show dancer who had once been their maid (Carol Haney) comes to stay with them. The mother-whom the son deeply resents because he is too deeply drawn to her-had been happily married and, because of the boy's attitude, has given up marrying again. Aware...
...Playwright Inge has once again, with the help of a good cast, achieved his sharp little vignettes, his touching, muffled cries and lonely moments. In the mother he has created an interesting variation on a type, and in mother and son he has clearly sought to probe one of the most difficult and tangled of human relationships. That he has not done so seems due partly to method and partly to mood. The dancer's role, whatever its own interest or its catalyst value, somehow obstructs the son and mother story and keeps it from breathing. Into a short...
...Tenth Man. In a drab Mineola, L.I. synagogue full of picturesque Jews, Playwright Paddy Chayefsky mixes surrealism and Freud, demonology and farce to create a play that succeeds as theater but fails as anything deeper...
...authority to allot certain star subsidies, Malraux set out to rehabilitate the French theater. At the Comédie Française, he complained, standards had fallen so low that there were only six performances of Racine to 113 of a couple of frothy farces by a 19th century playwright, Eugene Labiche. "Let us have Labiche," said Malraux tolerantly, "but not at the expense of Racine." From then on, as Paris-Presse put it, the lines were drawn between " 'Kid' Labiche v. 'Battling' Racine." Malraux snatched the Odeon theater out of the clutches of the weary...
Look Back in Anger. The sneers and snarls of Playwright John Osborne's Angry Young Man (Richard Burton) lead to pity, not fear, but raise prickling questions for the society he damns...