Word: scriptful
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...console the millions who could not see the show, radio's perennial wonder boy, Norman Corwin, turned a rosy spotlight on the proceedings with a new script entitled The Time Is Now! "What has the General Assembly in its two years done [about disarmament]?" shouted a voice of disembodied skepticism over the nation's loudspeakers. "What will it do?" The reply came in tones of ringing triumph: "The answer is-it is on the agenda...
British radio, like a British weekend, is casual, slow-paced and elastic. If the script calls for a minute of silence or three hours of steady bagpiping, the BBC's Third Program* (TIME, Nov. 4) is only too happy to oblige. British broadcasters and British listeners have no horror of dead air or of overtime. In the U.S., such dawdling is unthinkable: a production is adaptable to radio only if it can be hustled through on an hour, a half-hour or a 15-minute schedule, with carefully timed pauses for the sponsor's plugs...
Quite aside from Mr. Bogart's high-skilled labor, The Dark Passage has the benefit of an unusually good script and direction by Delmer Daves, who also wrote and directed another unconventional thriller, The Red House (TIME, Feb. 17). Daves's first-person-singular manipulation of the camera profits by Robert Montgomery's good pioneering in Lady in the Lake (TIME, Jan. 27). Director Daves also has a sensitive hand with atmosphere and mood: there is a beautiful outdoor scene, for instance, in which the exhausted, bandaged Bogart, like a figure in a nightmare, staggers through...
...Kind of Stupid." Last week CBS's Ace was doggedly plugging away at a new script show, a projected variety program, new props for the Little Show. He was also putting the finishing touches on a new show for Jane. ''But she's pretty fussy," says Ace. "We offered her a 7 p.m. spot, and she wouldn't take it because it interfered with her cocktails. Then we suggested a half-hour program, once a week, but she was afraid of the audience. Finally CBS said to give her anything she wanted -so she picked...
...between Scripters Ludlow Mumni and Maurice Cassard. Mumm was a solemn, devout Manhattan liberal who was driven to picket lines by a chauffeur. Cassard was a rumpled, realistic Frenchman, who admitted to an impulse to vomit into the hats of "Stork Club Communists." They were working together on the script of Moses Fable's preposterous musical, Will You Marry Me?-and getting nowhere. One day, driving in the San Fernando Valley, Cassard ran over and hospitalized Dirty Eddie. Cassard had found his ideal teammate...