Word: protagonists
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Metro-Goldwyn-Mayer's approach to the Edison legend is somewhat different. Installment No. 1, Young Tom Edison, showed its protagonist (Mickey Rooney) leading the life of an early Christian martyr in Port Huron, Mich. Sufficient time having elapsed since young Mickey Rooney steamed away to glory, leaving behind young Edison's harrowing boyhood, the public mind passes painlessly to Installment No. 2, solid, literal and prosaic, with big budget written over every sequence. It also has sterling, matter-of-fact Spencer Tracy making a brave, respectful effort at verisimilitude by looking a little wild at moments...
...task of "pacifying" the country. To exercise supreme Government authority in Norway, Hitler sent to Oslo one of his youngest and most ardent disciples, 42-year-old Josef Terboven, Gauleiter of Essen, publisher of Field Marshal Hermann Goring's Essener National-Zeitung, a Jew-hater and energetic protagonist of the Nazi Herrenvolk (ruling caste) ideology...
...decayed Thanksgiving turkey. In the orchestra pit the staid Metropolitan Opera orchestra surged and noodled conventionally through Wagner's foaming music. But the cavorting it accompanied would have turned a Wagnerian's hair white in a single act. No Tannhäuser was its central protagonist, but mad King Ludwig of Bavaria (Wagner's patron), who reared and reeled in the costume of Lohengrin. Before him, like something sired by George White out of Krafft-Ebing, pranced a bleached Venus (Nini Theilade), a hoop-pantalooned Lola Montez (Ludwig's grandfather's mistress) with a belt...
...preface, Thomas Wolfe declared this "the most objective novel that I have written," expressed hope that "the protagonist will illustrate in his own experience every one of us. . . ." Exhausted readers, dazed and deafened from their long buffeting, may seek in vain for Wolfe's "objectivity," for an identity...
...because the whole production was one of the finest the Metropolitan has mounted in years. Aside from the fact that it was sung in Italian, it would doubtless have pleased hard-drinking neurotic Modeste Moussorgsky, who, when he wrote the opera in 1873, attempted to make the People the protagonist, gave the chorus a great "Revolutionary Scene," in which he planted ideas which did not come to fruit in Russia until 1917. This scene, which ends with a song sung by an idiot (signifying plenty), underscores its point, as the curtain falls, with red fire in Russia...