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...been put to better use. Most of the action takes place in the Tower of London and a single set and part of the orchestra is used. The scenes flow rapidly one into the other by use of lights, rather than curtains and there is seldom a moment, without visual activity. When Richard is soliloquizing on his villainy, there is a red light, presumably from Hell, shining upon him. During the battle scene, which is done all in silhouette and with imaginary weapons, an off-stage drum beats. All of these things are very effective and tastefully done in keeping...

Author: By George A. Leiper, | Title: The Playgoer | 1/19/1949 | See Source »

...become more fashionable than God's or man's will as an explanation of all human acts. Various types of mental sickness (amnesia, etc.) have been used and used again as springboards for psychological thrillers. In fact, the theme has become so familiar that a relatively new visual idiom has been worn down into a bag of movie cliches (the close-up of the vague eye, the trick shot of all outdoors whirling round & round, the heart beating an audible tom-tom, the psychiatrist with his smooth sofa-side manner...

Author: /time Magazine | Title: Cinema: Shocker | 12/20/1948 | See Source »

Samuel Chamberlain, author of "Fair Harvard," Richard W. Cartwright of the Boston Club, and Gyorgy Kepes, professor of visual design at MIT, will head the judges panel. The other two judges are Mrs. Lee Ellis and James Brook noted Boston amateurs...

Author: NO WRITER ATTRIBUTED | Title: Photo Club Sets Entries Deadline For First Salon | 11/26/1948 | See Source »

...earnestly to make up the difference by cooking up things to put on the screen. Some of the devices were effective and to the point-e.g., the simple scoreboards and graphs that gave the returns at a glance (but not the detail-packed blackboard charts that looked like visual doubletalk...

Author: /time Magazine | Title: Radio: Not Much to Look At | 11/15/1948 | See Source »

...commendable, but he mustn't let his long affiliation with thousands of thin-thighed showgirls go to his vocabulary when he calls opera singers "hamfats." Does he know that it takes all that "heft" to sing above a vast orchestra? . . . Opera is not supposed to be a flashy, visual affair of housebroken horses and incredible bosoms ... We don't go to look; we go to listen...

Author: /time Magazine | Title: Letters, Sep. 27, 1948 | 9/27/1948 | See Source »

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