Word: sequel
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Dates: during 1950-1959
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...diamond anniversary of Greek drama at Harvard, the Harvard-Radcliffe Classical Players are offering a gem of a production. Those who witnessed the 1881 production of Sophocles' Oedipus Rex can now see what eventually happened to the King in the play's sequel, Oedipus Coloneus, the last of the dramatist's seven extant tragedies...
Although it is no cruder than its sequel, Doctor in the House, Doctor at Sea is somewhat less successful. Its minor characters are much less realistic and hence less intrinsically amusing than their counterparts in the earlier movie. James Robertson Justice, who practically carried Doctor in the House as a gruff but good-hearted surgeon, now becomes an apopleptic ship-captain, and loses some of his charm. Similarly, devil-may-care medical school comrades are supplanted by an equally devil-may-care but less interesting ship's crew. They provide a slightly flimsy background for the doctor, Dirk Bogarde...
...Return of Don Camillo (Rizzoli; I.F.E.), a sequel to The Little World of Don Camillo (TIME, Jan. 19, 1953), continues the slapstick story of Fernandel, a quirky priest who talks both to and back to God. and Gino Cervi, a hot-tempered Communist mayor whose redness seems no deeper than that of a radish...
...head, thudded against his shoulder. After that the oldster did the teaching. He whipped off his glasses, grabbed the upswung truncheon with both hands, wrenched it away, then gave the young man several ferocious whacks with it before the cops put an end to the skirmish, a sequel to a talk-of-the-town scandal. The battlers: Dr. Gabriel Quadros, 67, father of Sāo Paulo's Governor Jãnio Quadros, and José Guerreiro, 32, whose 25-year-old wife ran away with the old doctor a few weeks ago. Crowed Dr. Quadros, clearly the victor...
...have long since succumbed to U.S. jazz, slang, movies and musical comedies, gave a less hospitable reception last week to modern U.S. art. On view at London's Tate Gallery were 209 paintings, sculptures and prints selected by Manhattan's Museum of Modern Art as a sequel to its big Paris show (TIME, April 18). London critics in general frankly admitted that they found the experience "disquieting" and even "nightmarish." Decided the London Observer: "Most of these artists seem to reflect the character of a continent at once inquiring, energetic, assertive, and ill at ease...