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...rang the school bells for School-of-Paris art more loudly or persistently than crusty Art Dealer Ambroise Vollard. From 1893 on, his jumbled little gallery on the Rue Laffitte stocked and sold all the important moderns...

Author: /time Magazine | Title: Art: The Bell Ringer | 1/1/1951 | See Source »

Outside the Hotel Metropole in the Rue Paul Bert people were quieter as they studied the news from Korea on the Agence de Presse bulletin board. Little Vietnamese men stood wooden-faced in their sharp suits and pearl grey fedoras, their Parker 51s and antimagnetic, shockproof Swiss wrist watches. They were observing the West's humbling with a terrified, frozen-faced satisfaction; their Western watches are the fancy kind which tell the days of the month, the phases of the moon. As everybody in Hanoi knows, the next full moon occurs...

Author: /time Magazine | Title: BATTLE OF INDO-CHINA: Phases of the Moon | 12/18/1950 | See Source »

Five Pouilly-Fuissés. At the Restaurant Drouant in the Rue Gaillon, the academy members were taking longer than usual to make their annual selection. A waiter battled his way through the crowd, muttering: "My God, four ballots and five Pouilly-Fuissés and still these gentlemen have decided nothing!" Someone said: "They are not going to award a prize this year, they are not..." A voice roared: "Passageway! Clear a space for the photographers!" The door of the inner room opened, and looking solemnly down on the surging crowd stood Pierre Mac Orlan, painter, novelist, .and youngest...

Author: /time Magazine | Title: FRANCE: Jackpots | 12/18/1950 | See Source »

...indeed, the prize-giving season. Outside the Restaurant Drouant in the Rue Gaillon, a policeman remarked to the driver of a Radio Diffusion Franchise truck that he had sensed a new vitality in French literature this year...

Author: /time Magazine | Title: FRANCE: Jackpots | 12/18/1950 | See Source »

Some vagrant amusement is provided by Actor Webb's impersonation of a strong, silent westerner patterned after Gary Cooper, and by Jack La Rue's bit as a movie star who fancies himself the living model of the tough, coin-flipping gangster he plays on the screen. They do nothing to repair the picture's ingrained faults. As Director Seaton himself demonstrated in Miracle on 34th Street, the supernatural elements of a fantasy are best played off against the familiar realities of an everyday world. Instead, the coy hocus-pocus of For Heaven's Sake takes...

Author: /time Magazine | Title: Cinema: The New Pictures, Dec. 18, 1950 | 12/18/1950 | See Source »

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