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Champion (Screen Plays, Inc.; United Artists) is a full-length portrait of a middleweight heel. Based on a hard-bitten short story by the late Ring Lardner, it is a brilliant example of the kind of punch a mall studio can pack, if it has an intelligent script and a smart director. To get by the Johnston Office, Scripter "Carl Foreman made his hero, Midge Kelly Kirk Douglas), a shade gentler than Lardner's original. The movie Midge, for instance, does not paste his dear old mother in the jaw. Otherwise he is just about as unlovely a piece...

Author: /time Magazine | Title: The New Pictures, Apr. 11, 1949 | 4/11/1949 | See Source »

Secretary of State Dean Acheson was just the man for the job, declared Hearstling Handwriting Expert Muriel Stafford, after a look at the crisp Acheson script. "It is interesting," she pointed out, "that both General Marshall and Dean Acheson write a firm, left-slanted writing. Both are reserved men, clear, swift thinkers, and strong willed . . . Dean Acheson has the added gift of intuition, shown in his quickly written, disconnected writing ... Low capitals indicate a modest man . . . he is also extremely literary. This is a cultured writing in the finest sense of the word...

Author: /time Magazine | Title: People: The Furrowed Brow | 4/4/1949 | See Source »

...Script (circ. 27,000), the West Coast imitation of The New Yorker, had almost written "The End" last Christmas, when the magazine's backers (including Moviemaker Sam Goldwyn and General Manager Bob Smith of the Los Angeles Daily News) pulled out. Publisher Ik Shuman, once an editor of The New Yorker, bought the monthly from them for $1, and tried to keep it going. But production costs were too high, and revenue too low. Last week Shuman sadly put the final issue to bed. Then he called his creditors together to write a P.S. to Script. Debts...

Author: /time Magazine | Title: The Press: End of Script | 3/21/1949 | See Source »

Devil in the Flesh is a profoundly moving film because it is profoundly honest. With an ear for dialogue as accurate and intimate as a wire recorder in a bedroom, Writers Jean Aurenche and Pierre Bost (who also collaborated on Symphonie Pastorale) have provided a script that is at once ruthless, compassionate and quietly penetrating. Working in the same low natural key, Director Claude Autant Lara has produced an extraordinary fluoroscopic effect of life-in-depth. The lovers' moments of clandestine passion (as frank as any that have recently reached the screen), their childish gaiety, their anguish and fears...

Author: /time Magazine | Title: Cinema: French Import | 3/21/1949 | See Source »

...script leaves little room for love interest. Dorothy Malone, who ends up marrying Kennedy, hardly gets past the threshold of the plot. But Alexis Smith, as a sultry barroom singer with her lids at half-mast and her lips provocatively ajar, weaves more prominently in & out of the all-male hubbub. Eventually, her shady morals and mascara notwithstanding, she becomes the wife of Rancher McCrea. The highly involved plot in South of St. Louis, always pretty implausible, moves along at a fast enough clip to look convincing, and most of the principals are old enough hands at this sort...

Author: /time Magazine | Title: Cinema: The New Pictures, Mar. 21, 1949 | 3/21/1949 | See Source »

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