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...effect in the desert was electrifying. On the Western Protectorate Federation's first anniversary this month, three more potentates joined up. The new Sultan of Lahej, picked to replace his predecessor in Cairo, cried: "Let us proceed farther with this glorious federation through which we can participate in achieving the great aim of Arab unity...

Author: /time Magazine | Title: ADEN: Truce in the Desert | 2/29/1960 | See Source »

John Sloan, who is usually tagged as a leading practitioner of the Ashcan School, was on vacation from realism in Picnic on the Ridge. On a glorious night near Santa Fe, a group of artists gathers round a picnic fire. Sloan himself is in profile, holding a coffee cup. His wife kneels just behind him. He summered in Santa Fe, but Sloan worked in Greenwich Village and became a sort of guardian spirit of its artists. Once, from the top of Washington Square Arch, he went so far as to proclaim the Village an independent republic...

Author: /time Magazine | Title: Art: Romantics at Milwaukee | 2/29/1960 | See Source »

...recent months. Behind the Great Wall (TIME, Dec. 21) beat Todd's picture to Broadway by a nose, partly because "amazing Aroma-Rama" (which breathes the "olfactory effects" in and out of a theater through its air-conditioning system) is simpler to in stall than Todd's "glorious Smell-O-Vision" (which supplies every customer with his very own scent vent...

Author: /time Magazine | Title: Cinema: Nose Opera | 2/29/1960 | See Source »

...Cranes Are Flying. (Russian). Director Mikhail Kalatozov goes wild with his camera, achieves glorious effects of cutting and lighting, and lifts a banal love story into whirling flight...

Author: /time Magazine | Title: THEATER: On Broadway, Feb. 29, 1960 | 2/29/1960 | See Source »

...told it with smashing verve. He has obviously made the picture he wanted to make, relatively free of official interference, and the sense of freedom thrills in every frame. Kalatozov can seldom resist the brilliant angle and the trenchant frame, even when they interrupt the story, and his glorious effects of cutting and lighting are often spectacularly inappropriate. But somehow the vital extravagance of the film engages the spectator and whirls him along in its whirling mood. This mood is personified in Heroine Samoilova, an astonishingly imaginative young actress who is the type of Tolstoy's Natasha-slender, dark...

Author: /time Magazine | Title: Cinema: Russian Without Tractors | 2/22/1960 | See Source »

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