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After a shaky start on last year's show, Donn Fischer's direction is imaginative and professional. None of the songs seem stuck into an irrelevant plot, and no one fronts and centers to sing them. The show flows from opening to finale. Stark Hesseltine's production is, of course, very good, and the costume committee, headed by Jill Howard, can well share credit for the glossy exterior of the show. Tony Herrey's sets also contributed greatly. They were bright and simple, and the theatre marquee, in particular, showed an intelligent use of the Pudding's limited space...

Author: By Michael Maccoby., | Title: Pudding Premiers 'Ad Man Out' | 12/2/1953 | See Source »

...Printed Page. Young photographers seem jaded by technical perfection, regard stark effects that were considered shattering a decade or two ago merely as snapshots. Says Edward Steichen: "We hate clarity, and want feeling in what we photograph. We think that there is a deadly monotony in technical procedure . . . Anyone can take pictures, but we need at least 200 years before photography really gets good...

Author: /time Magazine | Title: Art: Two Billion Clicks | 11/2/1953 | See Source »

Neither of the Harvard representatives on the executive board, Irving M. Yoskowitz '53 and David Stark '53, were present at the meeting when the decision was made...

Author: NO WRITER ATTRIBUTED | Title: Salzburg Seminar Ends College Representation | 10/22/1953 | See Source »

...patterned on the career of the late Governor Huey Long of Louisiana. It is a much freer version that the recent Academy Award-winning All the Kings Men and a much less convincing one. While All the Kings Men depicted an era and a people as well as Willy Stark, A Lion is in the Streets portrays only Hank Martin, a character divorced form his context. For this reason it lacks much of the color of its black and white predecessor...

Author: By J. ANTHONY Lukas, | Title: "A Lion Is in the Streets" | 10/6/1953 | See Source »

...character, but at the same time impressive in picturing the danger and frustration of the corvette's task. With several delicate director's touches The Cruel Sea communicates the breathless silence of perilous halts in mid-ocean for rescues or repairs, and there are two scenes remarkable for stark visual impact-the sinking of H.M.S. Compass Rose, and the running down of floating survivors in a vain attempt to destroy a U-boat. Impressive also is the film's attention to detail; the viewer becomes completely familiar with the Compass Rose, the radar screen on the bridge, the pistons...

Author: NO WRITER ATTRIBUTED | Title: The Cruel Sea | 9/30/1953 | See Source »

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