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Thomas J. Babe, Jr. '63 of Kirkland House won the $75 first prize in an Adams House Drama Society contest for his play The Better Angel. George D. Kelly '63 of Eliot House took second prize ($50) for a movie script, The Ape's Tragedy...

Author: NO WRITER ATTRIBUTED | Title: Babe Wins Prize | 2/28/1962 | See Source »

Fuller spoke for two and a half hours without script or notes. "Thinking out loud," he began slowly, but later spewed forth his thoughts at breakneck pace...

Author: By Michael S. Gruen, | Title: Architects Should Solve Problems Of Human Survival, Fuller Claims | 2/23/1962 | See Source »

Victim (Allied; Pathé-America), a British picture that the Johnston office has found "thematically objectionable," elaborates a startling statistic: in nine out of ten cases of blackmail in Britain, the victim is a homosexual. Why? The answer, as provided by a speech in the script: "A law which sends homosexuals to prison"-as Britain's does-"is a charter for blackmail." As the film begins, a young homosexual (Peter McEnery) who has robbed his employer to pay his extortionist is caught by the police. Rather than implicate the eminent barrister (Dirk Bogarde) with whom he is emotionally (though...

Author: /time Magazine | Title: Cinema: A Plea for Perversion? | 2/23/1962 | See Source »

...doesn't really matter. As played by Capucine, the heroine has looked dead all along. By contrast, the other members of the cast (notably Anne Baxter and Jane Fonda) positively seethe with vitality. The script, which owes almost nothing but its title and its setting to the novel by Nelson (The Man with the Golden Arm) Algren, was written by five writers in succession, and it reads like a round-robin, fold-over-and-add-a-line letter: "You certainly are an unusual girl to find in this sort of place . . . Darling, I love enough for two . . . My father...

Author: /time Magazine | Title: Cinema: No Better Than It Should Be | 2/23/1962 | See Source »

...story is obscured by brilliant photography that makes the viewer concentrate on scenes rather than continuity, but the camera work has an expressive clarity and nightmarish emotional intensity which speaks even more clearly than the script It is this visual language, more than words, which says that Sandro sees Claudia as just a new adventure. But the same language portrays emotional tone so clearly that the film's message clearly lies in Claudia's changing attitude...

Author: By Stephen F. Jencks, | Title: L'Avventura | 2/13/1962 | See Source »

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