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...Pele vaults John Murray of Cornell has cleared the unheard-of (among the Ivies) height of 14 ft., 6 in., and can do it again...

Author: By Michael S. Lottman, | Title: Yale Track Squad Favored Today Over Crimson in Heptagonal Clash | 3/4/1961 | See Source »

...Hoodlum Priest (Murray-Wood; United Artists). The divine spark often burns in trash, and it burns with a still and terrible loveliness in this loud, crude, violent and sentimental cops-and-robbers picture, the work of an energetic actor-producer named Don Murray and a talented televeteran named Irvin Kershner...

Author: /time Magazine | Title: Cinema: God in a Gas Chamber | 3/3/1961 | See Source »

...priest (Murray) of the title is the well-known St. Louis Jesuit, Father Charles Dismas Clark, who for 25 years has lived and served as the friend and confessor of convicts. The story starts like any old half-hour on TV. A baby-faced sidewalk bully (Keir Dullea), who has done two years in state prison for an armed robbery that netted him exactly $19, emerges from the tank still wet behind the ears. The priest awakens a hope in the boy that he can actually make it the hard way. The boy works like a demon, impresses his boss...

Author: /time Magazine | Title: Cinema: God in a Gas Chamber | 3/3/1961 | See Source »

...dimension of reality surrounds and penetrates the scene: the dimension of divine love. Like an impossible hope it flickers in his heart. In this hope the condemned man and his audience are so intensely interfused and mutually identified -thanks to the bone-honest, heartfelt playing of Dullea and Murray-that the spectator not only shares the victim's agony in the gas chamber but may even, at one transcendent moment in this film, feel himself dead in the dead man, feel the dead man living in himself. The experience is extraordinary - nothing less than an illusion of immortality...

Author: /time Magazine | Title: Cinema: God in a Gas Chamber | 3/3/1961 | See Source »

...year ago, appalled by the number of fraudulent Turner water colors that were cropping up in London, the museum's keeper of prints and drawings, Edward Croft-Murray, decided to warn the public by putting on a special show of fake Turners along with some originals. The idea quickly spread to other departments, and even to collectors and connoisseurs on the outside. Art Historian Sir Kenneth Clark contributed a 17th century unicorn horn; Sir Alister Hardy lent his mummified mermaid. From the museum's storerooms came the famed fabricated Piltdown man (TIME, Nov. 30, 1953), an Etruscan sarcophagus...

Author: /time Magazine | Title: Art: Confessions of a Museum | 2/17/1961 | See Source »

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