Word: gretchen
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...nightclub raconteur-pianist, whose bawdy songs in free verse derided and titillated cafe society in the '20s and '30s, once caused the entire Albuquerque Rotary Club to walk out on him; in Manhattan. Fiske made pretentious women his special target (Queen Anne, Miss Elaine of Boston, Gretchen Goudonofi, Malaga the Grape Girl), but he was also unkind to Marc Antony ("Cleopatra thought this was so swell / She had the Fig Newtons passed around, / Which only gave Marc Antony a case of hiccups / She misconstrued this for emotion...
Married. Billy Martin, 31, Cleveland Indians second baseman; and Gretchen Ann Winkler, 24, Trans World Airlines hostess; in Las Vegas...
...first-act stiffness. Mr. Lasell has no sense of Jack's earnestness, his utterly sincere hypocrisy, his damnable stuffiness; Mr. Clark copes somewhat better with Algy, but cannot quite hit off his incorrigibly cheeky lightmindedness. As a result, they appear as a set of almost interchangeably cheerful young men. Gretchen Kanne misses the hothouse bloom of Gwendolyn, who exists in and through Society like an elegant bacterium in its nutrient broth. (In the midst of an ineffably decorous cat-fight, Gwendolyn accepts a cup of tea from her rival with the aside, "Detestable girl! But I require tea!") (italics mine...
...performances are one and all solidly professional, although a couple of the ladies give an occasional impression of being younger than they are supposed to be. As the Director, Leading Lady, and Leading Man of Pirandello's theatrical company, Dean Gitter, Gretchen Kanne, and Wendell Clark delineate three phonies without ever a phony stroke in their performances. Mr. Gitter's role is more extensively characterized than the others, and he brings to it the right sort of pudgy excitability and pseudo-suavity. Ray Reinhardt, Dora Landey, Richard Mathews, and Helen England are the most prominent of the Characters, and they...
...Alexander Korda, the British movie mogul, signed her to a seven-year, nonexclusive contract. The late great Albert Basserman dragged her off on a tour of Europe to play Gretchen to his Faust. By 1950 she was in a flood tide of some of the weepiest (and most popular) German pictures ever made. This was her Seelchenperiode as a leidender Engel (suffering angel), the shopgirl's ideal, when the Schell smile was as famous in Germany as the Monroe walkaway was in the U.S. Maria and Dieter Borsche, with whom she was starred in Es Kommt Ein Tag, were...