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...Tough (Canon; United Artists) is a title that means next to nothing in a picture that means nothing at all. With a pretense of social protest, the film tries for realism as it pans in on Spanish Harlem and enters slums where children sleep on pallets and adults line up nine-deep to use the bathroom. But what the cameras actually record is little more than a Puerto Ricochet from the smallest-bore gangster plot in the film maker's gun cabinet...

Author: /time Magazine | Title: Cinema: The New Pictures, Sep. 28, 1959 | 9/28/1959 | See Source »

...called "new wave" of young French directors. If Back to the Wall bears any message, it is that the new wave is still some distance from shore and seems to be headed in the wrong direction. More American than French, the film lathers its small offering of Frankish realism and nuance with a thick layer of Hollywood formula...

Author: /time Magazine | Title: Cinema: The New Pictures, Sep. 21, 1959 | 9/21/1959 | See Source »

...Playhouse hit its peak with an excellent production of Arthur Miller's A View From the Bridge, a powerful and almost successful attempt at a new kind of poetic realism in the field of tragedy. Robert J. Lurtsema brought first-rate dynamism and nobility to the leading role of Eddie Carbone. Dana Bate was fine as his older cousin Marco. And Dean Gitter '56 played the lawyer Alfieri with intelligence...

Author: By Caldwell Titcomb, | Title: Local Drama Sparks Summer Season | 9/21/1959 | See Source »

Among the best of Japan's new print-makers is Tadashi Nakayama, 33, who switched from oils to woodprints only two years ago. Characteristically, he minimizes the realism of his dream-tossed horses (see color): "My real interest is not so much in horses as in the wind. I am fascinated by the way the wind can change the form of things-a flower, the hair of a girl, the mane of a horse...

Author: /time Magazine | Title: Art: NEW SHAPES IN OLD WOOD | 9/7/1959 | See Source »

Chicago's Findlay Galleries played host last week to the warm, simple and true pictures of the world's most distinguished woman painter, Dame Laura Knight. To a few, the pictures' heartfelt realism had that musty look of the faraway and long ago; visitors were hard put to assess them by contemporary-and so often geometric -standards. One critic noted that Dame Laura painted like a man. Said she in London when she heard of it, "What man?" Another called her a "popular painter," which roused her British ire the more: "Don't call me popular...

Author: /time Magazine | Title: Art: Grand Dame | 8/3/1959 | See Source »

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