Word: overplay
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Dates: during 1950-1959
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...picture is fast on swordplay, heavy on overplay and light on screenplay. It begins with Walter Raleigh (Richard Todd), late of the Irish wars, winning an audience with the Queen; he wants to take three ships to the New World there to work for the greater glory of the 'British Empah." But the weary pan-amorous Elizabeth, who lost Errol Flynn back in the first film, likes the cut of Raleigh's jib- and his beard too. He is blunt, charming, gay, adventurous and never forgets to throw his cloak over mud puddles. He accepts...
...Assistant Secretary of Defense Frederick A. Seaton, decided that most of its readers were. The Mercury-Chronicle announced that it would experiment with running McCarthy stories on page 3 instead of Page One because the paper's editors felt "there has been something of a tendency everywhere to overplay 'McCarthy' stories." Last week the Louisville Courier-Journal (circ. 201,212) strongly disagreed and read a sharp lecture to the Mercury-Chronicle editors and other working newsmen who feel it their responsibility to "play down" McCarthy. Said a Courier-Journal editorial...
Despite its overplay of the sensational, the color and excitement common to all Disney travelogues make The Living Desert a highly enjoyable view of the Southwest...
Perhaps Martin's broad overplay finds partial justification in the job done by his fellow actors. He had to be ridiculous or they would have overshadowed him by their bizarre performances. Elaine Eldridge played the snuff-taking Ada Lester as though she were Helen Hayes doing Victoria. Mixing sweeping gestures, a tremulous voice (representing both infirmity and rage) and stiff posturings, she had a fine time being the Grande Dame of Back County, Georgia...
...Lear, there is no gainsaying him. The only objection that can be raised against him is that he overplays--and only the cold at heart, those unwilling to suspend disbelief, can say this. In a sense he does overplay: his Lear speaks often in great half-sobs, often raises his arms to heaven, often staggers about the stage. If Lear were an ordinary man, Devlin would stand convicted of the grossest heroics. But Lear is not ordinary: his rages are monumental, 'his sufferings monumental. One must overplay, overreach oneself to attain such lofty heights--Devlin does...