Word: boring
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Adapted by Mel Dinelli from his story and play, The Man, the movie is a pseudo-psychological thriller that succeeds in being more sedative than suspenseful. Ida Lupino, looking frail, suffers long and lugubriously, and moody Robert Ryan eventually seems more of a bore than a bogeyman...
...California, Cathy behaved no better. She bore Adam twin sons, then shot him with his .44 and ran off to a nearby town and became a prostitute. Cathy was good at it, and Steinbeck seems to have a fine time explaining her trade. Naturally, Cathy poisoned the brothelkeeper. took over the place, and racked up a lot of money. But she got her comeuppance. Arthritis, and fear that her sins would be found out. broke her evil spirit and she died by her own hand. But not until her shocked, teen-age sons (the second Cain & Abel team) and gentle...
...innovator, helping to break the crusts of conventional literary language. But she took her experiments too seriously and, like many another pioneer, refused to budge from her first discovery. Her manner became a mannerism, her breakthrough a limitation. In her last novel, the old revolutionary proves a rather garrulous bore...
...alongside Britain's famed General Charles George ("Chinese") Gordon, in the siege of Khartoum*; his father, Captain Youssef Naguib, marched with Lord Kitchener and a young British war correspondent named Winston Churchill to reconquer the Sudan from the Mahdi. Captain Naguib married a black-eyed Sudanese beauty who bore him nine children. Mohammed Naguib, 51, was the eldest of their three sons, born in Khartoum, but raised in the mud-walled village of Wad Medani, where his father was District Commissioner. Young Mohammed and his brothers, Aly and Mahmoud, splashed and scrapped in the germ-laden waters...
...five years after the war's end. Perhaps last week's performance came too soon: the audience seemed only mildly impressed, the applause was almost perfunctory. True, the music had its passages of Strauss lyricism, and Conductor Clemens Krauss made the most of them. But the score bore little resemblance to the lilting Rosenkavalier or the passionate Salome: it was closer to the allegorical Frau ohne Schatten or Die Aegyptische Helena of the composer's later years, and it sometimes made unreasonable vocal and emotional demands on the singers. Its story, a retelling of how Jupiter wooed...