Word: drama
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Dates: during 1940-1949
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Married. Author Ludwig Lewisohn, 56 (The Modern Drama, Upstream, The Creative Life); and Edna Manley, 31, who fell in love with him from reading his books; after one ceremony had been broken up by portly Thelma Bowman Spear, 36, who claimed she was Lewisohn's common-law spouse, shouted: "I have been his wife, his muse, his soul"; in Baltimore, Md. Next day Miss Spear turned up in Manhattan (where the Lewisohns were honeymooning). Newsmen, photographers heard her plaints, watched Son Jimmy, 6, bite her hand, scream: "I never did like you. I want to go to my father...
...uniformly excellent cast has made the best of this poor script. Franchot Tone was a treat; his acting had vigor and was convincing. A few more performances should overcome the few Hollywood histrionics left in his performances. Lee Cobb may be called the conscience of the drama. He conveys the futility and emotional vehemence of a man fighting for his ideals. Everywhere he is frustrated; at times, sad to relate, by the script itself which does not permit an adequate expression of his pent-up spleen...
...inherits an ancient and honorable British earldom, young Mr. Montgomery proves that his criminal instincts are sound. His triumph is all the more thumping because, as a movie, The Earl of Chicago never quite knows where it is going. Starting as a comedy in Chicago, it turns into stark drama under the impact of British manners and manors. Silky, once a carefree, moronic young mobster, snapping rubber bands at a pair of shapely legs (their tantalizing owner never steps into the picture), goes to his death (by hanging) in the regalia and with the dignity of a peer...
...history begins with a study of the avant-garde drama which began to flourish during the war years. He traces the influx of European influences, which, assimilated and transmuted, helped to produce the Provincetown Playhouse and its fellows. He proceeds to take up chronologically the work of George Kelly, Sidney Howard and the earlier plays of Maxwell Anderson: the achievement of Eugene O'Neill; comedy, from George S. Kaufman and S. N. Behrman to George Abbott; the so-called "social drama": and the poetic drama of Maxwell Anderson...
...Krutch's history is of necessity informal. While it is possible today to examine and assay the work of individual dramatists, it is as yet impossible to render any final judgments as to the ultimate meaning of their work in terms of the American drama. If Mr. Krutch has chosen to approach his subject as critic rather than as professor, he has done wisely. The formal history which will eventually be produced at some university will perhaps have the advantage of a greater temporal perspective, but its writer will be hard put to it to match the keenness...