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...University, made a strong argument for a world rule of law. "War with Russia," said the A.B.A.'s Rhyne (TIME, May 5), "is as certain as tomorrow's sunrise unless a formula or mechanism can be developed to maintain peace other than through arms." That being the stark fact, Rhyne suggested that it was high time for the U.S. State Department under International Lawyer John Foster Dulles to set up a new section staffed with experts to concentrate on law as a positive weapon in achieving and maintaining peace...

Author: /time Magazine | Title: THE LAW: Right & Rights | 5/12/1958 | See Source »

...northern polling station of Koumea last week, the first voter of the day strode in stark naked except for a straw hat. In the south, nationalists regaled reporters with accusations of repeat voting by government supporters: the ink stamped on each voter's hand to prevent his voting twice apparently washed off easily. But when day was done, the unexpected news began to spread: Olympio's party had won 60% of the votes, and 31 out of 46 Assembly seats...

Author: /time Magazine | Title: TOGOLAND: Masters in Our Own House | 5/12/1958 | See Source »

...director William Kelley has decked out his production with all sorts of bizarrerie, most notably makeup in vivid shades of red, blue, white, and green. Set designer Roberta Weiner has provided black walls for her hotel room, and it is lit (by John Herzog and Charles Kennel) mostly with stark white shafts. It's odd, very odd, but it comes...

Author: NO WRITER ATTRIBUTED | Title: The Gamblers and The Marriage | 5/2/1958 | See Source »

...Randall's efforts are augmented by fine music, lighting and sets; designers Chermayeff and Martin have constructed a stage which slopes upwards from the footlights, and have ornamented it with a series of stark, handsome and flexible sets...

Author: By Daniel Field, | Title: King Lear | 4/18/1958 | See Source »

Gamy meat, and O'Neill served it raw. But after a trip through the production grinder, his scenes come out on film looking rather like a row of pretty little veal birds. The stark images of the play are softened on the screen to glossy blowups. The bare New England farmhouse looks like the dream cottage in a rural real-estate prospectus. The actors play in a welter of unrelated styles. But the most important trouble with the picture is that it was ever produced. O'Neill's characters are not people; they are symbols...

Author: /time Magazine | Title: Cinema: The New Pictures, Mar. 17, 1958 | 3/17/1958 | See Source »

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