PROGRAMME NOTES VICTIM.Eps

Total Page:16

File Type:pdf, Size:1020Kb

PROGRAMME NOTES VICTIM.Eps TCM BREAKFAST CLUB SCREENING Victim I 1961 Directed by Basil Dearden The words “daring” and “groundbreaking” are frequently over-blown epithets in the movie business, but in the case of Victim (1961) they are entirely appropriate. For this film helped not just change attitudes towards a taboo subject – homosexuality – but even prompted changes in the law. Its star, Dirk Bogarde, showed enormous courage and integrity in agreeing to play the part of Melville Farr, the barrister who decides to take on a ring of blackmailers extorting men from gay men. TCM writer David Humphrey looks at how the film came to be made in an era when homosexuality was still the love that dared not speak its mind. With typical purposefulness and strength of character, Dirk move by the matinee idol, who would have sensed that public Bogarde thrust his head far above the parapet by taking the opinion was shifting towards a liberalisation of the laws that starring role in Victim. It was after all the first mainstream film forbade same-sex relationships. In real life, Bogarde himself on either side of the Atlantic to so shamelessly feature a gay was homosexual, but never made that public and was hero. In Britain’s prevailing moral climate, appearing in such a notoriously evasive whenever the fact was even hinted at. In his production could have been the kiss of death to the career of an memoirs about the life and death of his partner Tony Forwood, actor until now celebrated chiefly for action hero roles and light for example, he displayed an endearingly old-fashioned romantic parts in forgettable productions like Doctor in the House scrupulousness by portraying their relationship as actor and and Doctor at Sea. But it turned out to be a brave and shrewd manager, not lovers. TCM : SKY 319, VIRGIN TV 419 AND TOP UP TV ANYTIME TCMONLINE.CO.UK TCM 2: SKY 320 Meanwhile the young Peter McEnery and Dennis Price, a film In scenes of great poignancy, the movie ends with Farr and his actor of some stature, also took a leap of faith with their wife coming to terms with his sexuality and the humiliation he appearance in this film, directed with compassion, sensitivity and faces in the blackmailer's trial. not a little anger by Basil Dearden. This was the first English language movie to use the word "homosexual” (it was originally Nearly half a century on, the film is a fascinating time capsule banned from American screens because of that simple fact) and of London at the start of the second half of the 20th century. several of Bogardes contemporaries were so nervous about the Filmed on location in the capital’s streets, it rekindles memories subject matter that they rejected offers to play Farr. Jack for those of us who knew the city in the days before so much of Hawkins, James Mason and Stewart Granger were plainly made its character was lost to the bulldozer. As Farr pursues his of less stern stuff than Bogarde, never one to shirk a challenge. tormentors through a network of their victims, the cameras With homosexuals routinely being jailed in Britain, blackmailers shadow him through law courts, police stations, pubs, clubs, were gleefully able to extract funds for silence. Farr, a married barber shops, used bookstores, cafes, drawing rooms and car lawyer, finds himself at the mercy of a blackmailer who has dealerships, all in the monochrome grittiness of a London before photos of Farr with a young gay man who is being blackmailed it became, er, Swinging. and subsequently kills himself. At 40, Farr is about to become a QC but he knows he will sacrifice that appointment, and possibly On its release, the film’s importance was quickly recognised and wreck his marriage, if he allows himself to be publicly identified it gave impetus to the nationwide debate about homosexuality as gay. Nonetheless, he decides someone must confront the and associated blackmail (almost unbelievably, about 90 per blackmailers and in so doing demonstrate the injustice of the cent of all blackmail cases involved homosexuals at the time). law. Farr sets about tracking down other gay men being extorted For its wider ramifications, Victim stands comparison with other for money by the same blackmailer. In the process, his path landmark films such as Crossfire (1947), which boldly takes on crosses that of Detective Inspector Harris (John Barrie), one of anti-Semitism, and In the Heat of the Night (1966), robustly the Met’s more cerebral officers, who considers the law nothing tackling black stereotypes in the Deep South. When more than an aid to blackmailers and helps Farr in calling their homosexuality was finally legalised in Britain in 1967, few could bluff. Relish this piece of dialogue: deny the debt owed to Victim in that singular achievement. Detective Inspector Harris: Someone once called this law against Further reading: Dirk Bogarde, Rank Outsider, by Sheridan Morley homosexuality the blackmailer's charter. (Bloomsbury); Dirk Bogarde: The Official Biography by John Melville Farr: Is that how you feel about it? Coldstream, (Phoenix). Detective Inspector Harris: I'm a policeman, sir. I don't have feelings. ESCAPE TO A WORLD OF FILM THIS MAY WITH TCM In May, the 60th year of the Cannes Films Festival, TCM screens the UK Premiere of Bienvenue à Cannes, a fascinating documentary tracing the history of this star-studded event. Four memorable films that either collected the festival’s top prize, the Palme d’Or, or earned nominations are also shown. Meanwhile Bank Holiday highlights include all-time family favourites Willy Wonka and the Chocolate Factory (1981) and Blazing Saddles (1974). May also marks the centenary of the births of three acting legends - Laurence Olivier, Katharine Hepburn and John Wayne. TCM honours “Sir Larry” by showing two of his most memorable films, Clash of the Titans (1980) and The Shoes of the Fisherman (1968), while Hepburn stars in a special screening of The Philadelphia Story (1940). On TCM 2 meanwhile, John Wayne Week features On The Wings of Eagles (1957) and How The West Was Won (1962) and Directed by John Ford (1971) profiles the director responsible for some of Wayne’s most outstanding work. www.cornerhouse.org.
Recommended publications
  • Births, Marriages, and Deaths
    DEC. 31, 1955 MEDICAL NEWS MEDICALBRrsIJOURNAL. 1631 Lead Glazes.-For some years now the pottery industry British Journal of Ophthalmology.-The new issue (Vol. 19, has been forbidden to use any but leadless or "low- No. 12) is now available. The contents include: solubility" glazes, because of the risk of lead poisoning. EXPERIENCE IN CLINIcAL EXAMINATION OP CORNEAL SENsITiVrry. CORNEAL SENSITIVITY AND THE NASO-LACRIMAL REFLEX AFTER RETROBULBAR However, in some teaching establishments raw lead glazes or ANAES rHESIA. Jorn Boberg-Ans. glazes containing a high percentage of soluble lead are still UVEITIS. A CLINICAL AND STATISTICAL SURVEY. George Bennett. INVESTIGATION OF THE CARBONIC ANHYDRASE CONTENT OF THE CORNEA OF used. The Ministry of Education has now issued a memo- THE RABBIT. J. Gloster. randum to local education authorities and school governors HYALURONIDASE IN OCULAR TISSUES. I. SENSITIVE BIOLOGICAL ASSAY FOR SMALL CONCENTRATIONS OF HYALURONIDASE. CT. Mayer. (No. 517, dated November 9, 1955) with the object of INCLUSION BODIES IN TRACHOMA. A. J. Dark. restricting the use of raw lead glazes in such schools. The TETRACYCLINE IN TRACHOMA. L. P. Agarwal and S. R. K. Malik. APPL IANCES: SIMPLE PUPILLOMETER. A. Arnaud Reid. memorandum also includes a list of precautions to be ob- LARGE CONCAVE MIRROR FOR INDIRECT OPHTHALMOSCOPY. H. Neame. served when handling potentially dangerous glazes. Issued monthly; annual subscription £4 4s.; single copy Awards for Research on Ageing.-Candidates wishing to 8s. 6d.; obtainable from the Publishing Manager, B.M.A. House, enter for the 1955-6 Ciba Foundation Awards for research Tavistock Square, London, W.C.1.
    [Show full text]
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Cinema Medeia Nimas
    Cinema Medeia Nimas www.medeiafilmes.com 10.06 07.07.2021 Nocturno de Gianfranco Rosi Estreia 10 Junho Programa Cinema Medeia Nimas | 13ª edição | 10.06 — 07.07.2021 | Av. 5 de Outubro, 42 B - 1050-057 Lisboa | Telefone: 213 574 362 | [email protected] 213 574 362 | [email protected] Telefone: 42 B - 1050-057 Lisboa | 5 de Outubro, Medeia Cinema Nimas | 13ª edição 10.06 — 07.07.2021 Av. Programa Os Grandes Mestres do Cinema Italiano Ciclo: Olhares 1ª Parte Transgressivos A partir de 17 Junho A partir de 12 Junho Ciclo: O “Roman Porno” Programa sujeito a alterações de horários no quadro de eventuais novas medidas de contençãoda da propagaçãoNikkatsu da [1971-2016] COVID-19 determinadas pelas autoridades. Consulte a informação sempre actualizada em www.medeiafilmes.com. Continua em exibição Medeia Nimas 10.06 — 07.07.2021 1 Estreias AS ANDORINHAS DE CABUL ENTRE A MORTE Les Hirondelles de Kaboul In Between Dying de Zabou Breitman e Eléa Gobbé-Mévellec de Hilal Baydarov com Simon Abkarian, Zita Hanrot, com Orkhan Iskandarli, Rana Asgarova, Swann Arlaud Huseyn Nasirov, Samir Abbasov França, 2019 – 1h21 | M/14 Azerbaijão, México, EUA, 2020 – 1h28 | M/14 ESTREIA – 10 JUNHO ESTREIA – 11 JUNHO NOCTURNO --------------------------------------------- --------------------------------------------- Notturno No Verão de 1998, a cidade de Cabul, no Davud é um jovem incompreendido e de Gianfranco Rosi Afeganistão, era controlada pelos talibãs. inquieto que tenta encontrar a sua família Mohsen e Zunaira são um casal de jovens "verdadeira", aquela que trará amor e Itália, França, Alemanha, 2020 – 1h40 | M/14 que se amam profundamente. Apesar significado à sua vida.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • EARL CAMERON Sapphire
    EARL CAMERON Sapphire Reuniting Cameron with director Basil Dearden after Pool of London, and hastened into production following the Notting Hill riots of summer 1958, Sapphire continued Dearden and producer Michael Relph’s valuable run of ‘social problem’ pictures, this time using a murder-mystery plot as a vehicle to sharply probe contemporary attitudes to race. Cameron’s role here is relatively small, but, playing the brother of the biracial murder victim of the title, the actor makes his mark in a couple of memorable scenes. Like Dearden’s later Victim (1961), Sapphire was scripted by the undervalued Janet Green. Alex Ramon, bfi.org.uk Sapphire is a graphic portrayal of ethnic tensions in 1950s London, much more widespread and malign than was represented in Dearden’s Pool of London (1951), eight years earlier. The film presents a multifaceted and frequently surprising portrait that involves not just ‘the usual suspects’, but is able to reveal underlying insecurities and fears of ordinary people. Sapphire is also notable for showing a successful, middle-class black community – unusual even in today’s British films. Dearden deftly manipulates tension with the drip-drip of revelations about the murdered girl’s life. Sapphire is at first assumed to be white, so the appearance of her black brother Dr Robbins (Earl Cameron) is genuinely astonishing, provoking involuntary reactions from those he meets, and ultimately exposing the real killer. Small incidents of civility and kindness, such as that by a small child on a scooter to Dr Robbins, add light to a very dark film. Earl Cameron reprises a role for which he was famous, of the decent and dignified black man, well aware of the burden of his colour.
    [Show full text]
  • The Nation's Matron: Hattie Jacques and British Post-War Popular Culture
    The Nation’s Matron: Hattie Jacques and British post-war popular culture Estella Tincknell Abstract: Hattie Jacques was a key figure in British post-war popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the hospital-set films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British post-war politics, culture and identity, are explored here in relation to Jacques’s complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques’s star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the matron. Keywords: Hattie Jacques; Matron; Carry On films; ITMA; Hancock’s Half Hour; Sykes; star persona; post-war British cinema; British popular culture; transgression; carnivalesque; comedy; femininity; nursing; class; spinster. 1 Hattie Jacques (1922 – 1980) was a gifted comedienne and actor who is now largely remembered for her roles as an overweight, strict and often lovelorn ‘battle-axe’ in the British Carry On series of low- budget comedy films between 1958 and 1973. A key figure in British post-war popular cinema and culture, Hattie Jacques’s star meanings are condensed around the contradictions she articulated between power, desire, femininity and class.
    [Show full text]
  • Exploring Movie Construction & Production
    SUNY Geneseo KnightScholar Milne Open Textbooks Open Educational Resources 2017 Exploring Movie Construction & Production: What’s So Exciting about Movies? John Reich SUNY Genesee Community College Follow this and additional works at: https://knightscholar.geneseo.edu/oer-ost Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Recommended Citation Reich, John, "Exploring Movie Construction & Production: What’s So Exciting about Movies?" (2017). Milne Open Textbooks. 2. https://knightscholar.geneseo.edu/oer-ost/2 This Book is brought to you for free and open access by the Open Educational Resources at KnightScholar. It has been accepted for inclusion in Milne Open Textbooks by an authorized administrator of KnightScholar. For more information, please contact [email protected]. Exploring Movie Construction and Production Exploring Movie Construction and Production What's so exciting about movies? John Reich Open SUNY Textbooks © 2017 John Reich ISBN: 978-1-942341-46-8 ebook This publication was made possible by a SUNY Innovative Instruction Technology Grant (IITG). IITG is a competitive grants program open to SUNY faculty and support staff across all disciplines. IITG encourages development of innovations that meet the Power of SUNY’s transformative vision. Published by Open SUNY Textbooks Milne Library State University of New York at Geneseo Geneseo, NY 14454 This book was produced using Pressbooks.com, and PDF rendering was done by PrinceXML. Exploring Movie Construction and Production by John Reich is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted. Dedication For my wife, Suzie, for a lifetime of beautiful memories, each one a movie in itself.
    [Show full text]
  • Boxoffice Barometer (March 6, 1961)
    MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph.
    [Show full text]
  • Richard Burton
    Richard Burton For other people named Richard Burton, see Richard Burton (disambiguation). Richard Burton, CBE (/ˈbɜrtən/; 10 November 1925 – 5 August 1984) was a Welsh stage and cinema actor[1] noted for his mellifluous baritone voice and his great act- ing talent.[2][3] Establishing himself as a formidable Shakespearean ac- tor in the 1950s, with a memorable performance of Hamlet in 1964, Burton was called “the natural suc- cessor to Olivier" by critic and dramaturg Kenneth Ty- nan. An alcoholic,[3] Burton’s failure to live up to those expectations[4] disappointed critics and colleagues and fu- [3][5] eled his legend as a great thespian wastrel. Burton was born in Pontrhydyfen, where his father and some of Burton was nominated seven times for an Academy his brothers were coal miners Award without ever winning. He was a recipient of BAFTA, Golden Globe and Tony Awards for Best Ac- ing with Cecilia, Burton attended nearby Eastern Primary tor. In the mid-1960s Burton ascended into the ranks of School on Incline Row.[13] Burton said later that his sister the top box office stars,[6] and by the late 1960s was one became “more mother to me than any mother could have of the highest-paid actors in the world, receiving fees of ever been ... I was immensely proud of her ... she felt all $1 million or more plus a share of the gross receipts.[7] tragedies except her own”. Burton’s father would occa- Burton remains closely associated in the public con- sionally visit the homes of his grown daughters but was sciousness with his second wife, actress Elizabeth Taylor.
    [Show full text]
  • RTP 19560928.Pdf (2.559Mb)
    FRIDAY • FRIDAY Edition t Edition Washington and Lee Semi-Weekly Newspaper Volume LVII LEXINGTON, VIRGINIA, SEPTEMBER 28, 1956 Number 3 Figures Show Total School! Crowded Shop Delays Enrollment 1057 Students on Campus; Per Cent From South The Southern Collegian 74 Regtstrar E. H. HO\\ard .mnounccd May Appear ·---------- today a total enrollml.'nt of 1,057 studenb for Washington and Lee Univers1ty'a hrst semester of the By November Henderson Will Play Saturday 1956-57 school year. The figure is Skitch ll ende~n and hie; or­ The Openings i.'ISue of the South­ The Friday nicht dance "ill be on increase of I'Ven OVC'r )ast year'~ che Ira will play for the atur­ hdd from 10 p.m. to 2 a.m., \\hile ern Collegian will not appear Octo­ initial registration of 1,050 students. day afternoon jan concert and the the dance on oturda~ night will ber 26 as ongmally scheduled be­ Included In thts yt•ar's 1,057 stud­ Salurda) ('\l.'ning dance, during la'it from to 12 p.m. The 'atur­ cause of the "overcrowded condi­ 9 ents are 9t7 In th~; Collcgt· of Art OpeninJ., dance ..el, not the Fri­ tions" in the university prml shop day afternoon concert will be held and Sctences and School of Com­ day e\ eninr dance it was from to and what Mr. C. Harold Lauck, di­ as er­ 4 6. merce and Admini~trnlton, 106 in WASIIINGTON AND LEE'S new joumali1>m communication., laboratory roncou,Jy reported in the Tuesday Sinwell said he regretted the rector of the shop, call.s "too much the School of Law, ond four special will he open in the ncar future in "hat wR'i formerh Po~ nc IIa ll I.
    [Show full text]