DOCSLIB.ORG

Post Script October 1956 Page 5

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Post Script October 1956 Page 5 Movies-con1t PATE ATTRACTIONS STARS — FORESTRY CLUB — Hi, fellowsl Here we are starting another school Ja n u a r y 17 Chief Crazy Horse Victor Mature, year off wi£h a bangi The Susan Ball, John Lund Forestry Club would like to welcome each and everyone of February 7 Abbott and Costello Abbott and Costello you to Paul Smith’s College. Meet Frankenstein Lon Chaney The Forestry Club is one February 14 Pete Kelley's Blues Jack Webb, Janet of the largest active clubs Leigh, Edmund on campus. While it is comr* O'Brian, Peggy Lee posed mainly of Forestry students, we welcome Liberal February 21 Glass Web Edward G. Robinson, Arts and Hotel students as John Forsyths, well. Marcia Henderson The club holds its meet­ February 28 Helen of Troy Rossana Podesta, ings every other Wednesday. Jack Sernas, Sir At these meetings we have Cedric Hardwicke speakers, films, and forestry March 7 Mr* Roberts Henry Fonda, James problems. Cagney, Ai Ilian1 The first meeting has al­ Powell, Jack Lemmon ready been held and plans have J-‘arch 28 City Beneath the Sea Robert Ryan, Mala been made to hold the Paul Powers, Susan Ball, Bunyan Dance in October. We Ynthony ^uinn hope to make the dance a big Ap r i 1 4 Magnificient Matador Maureen O ’Hara, success, with events in cross­ Anthony Quinn cut sawing and speed chopping* One jteam will be entered from Vpril 11 Court Martial of Billy Mitchell (C) Gary Cooper, each class. Charles Bickford, Main events this spring, Ralph Bellamy will be the annual Woodsmen’s M ay 2 To Hell and Back Audie Murphy Weekend which will be held at Middlebury College; twD field M ay 9 Rebel Without a Cause (C) James Dean, trips to surrounding wood Natalie Wood, using mills; and various pro­ Sal Mineo jects on campus. M a y 16 Private War of Major Charlton Heston, Benson Julie Ad am s, The final event of the Tim Hovey year is the Forestry Club M a y 23 Purple Mask Tony Curtis, banquet where a good time is Colleen Miller, aad by all. This year with Donald * The above Schedule is also subject to ch^ge. Denault as the president, and HOECKER’S TRAVELOGUE weekend on the lovely, unspoiled lis able officers Larry Carew, Isle of Skye, off the western coast Bill Stephens, and Roy It was no great task to get of Scotland. An interesting Griswold and that man-about- Dr. Hoeeker to talk about his occurance there, Dr. Hpecker caxapus, Faculty Advisor Mr. G. summer vacation. A. simple question relates, was his experience of a Hoyt, we should have an inter­ on that subject drew from him a Scottish Sunday, rigorously esting year. full itinerary, complete with observed, that made no transports colorful details, of his trip to ation for leaving Skye available. of Capri, with its blue Grotto and Europe which started in June and As avrestlt Mr. Hoecker missed dayp spent lazily on the beach. ended in September with a quick his Monday class. No exscused Of course these are only the high­ rush from ship to the bus for Paul absenee either. lights, Mr .Hoecker ventures, for Smiths• But it seems that this was he is ready also to talk about It all started with a crossing just the beginning of a glorious Fompeii, Verona, and Milano. on the Queen Elizabeth, (after summer. From school our traveller Finally our traveller was able several trips across on the thobped to Belgium and began a to admit one supreme experience Elizabeth Dr. Hoecker thinks of hei hectic journey by car, bus, train, luring the trip-- that of standing as his private ship) a smooth and foot across Belgium, Holland, alone before the Last Supper by relaxing trip which was made Germany, Switzerland, France$ and jDa V^nci in the refectory of Santa enjoyable for our voyager by the Italy. He finds it exceedingly Maria della Grazie in M^lan. It presence of the ship’s Surgeon at difficult to choose one country as vas a supreme beauty of form anfl his table, that offieer ordering more interesting than the others, :olor that seems to defy time and flrith ’a lavish hand Champagne, for he has happy memories of them continues to impress all who view Caviar, and Cherries Jubilee for all. .t, was Mr. Hoeckers' conclusions. all his companions. With this observation the The first port of call was The greater part of his subject wafe to conttent'to stbp Southampton, but Dr. Hoecker sped Continental tour was spent in Italy for the present, not forgetting, by night train up to Edinburgh, Venice was sparkling with color, however, to recommend a trip to Scotland, for a part of the sumrcer Florence was hot, but a revelation Europe to all of his students and session at Edinburgh University. in its wealth of art in museums and! friends and associates. There he took a course in Early churches, and Rome was memorable How about next year? Why Mr. Renaissance history, not forgetting for the spiritual experience that Hoecker is making the usual of course, to enjoy hiking on the gives depth to days of sightseeing arrangements for passage on the Pentland Hills and spending one Finally there was the natural beaut; ■Queen Elizabeth-.
Recommended publications
  • Our Love Affair with Movies

    Our Love Affair with Movies

    OUR LOVE AFFAIR WITH MOVIES A movie producer and Class of ’68 alumnus recalls the cinematic passions of his senior year—and offers some advice on rekindling the romance for today’s audiences. By Robert Cort crush on movies began on a Around the World was a grand spectacle Louis Jourdan as Gaston realizing how damp November night in 1956. that ultimately claimed the Academy much he loved Gigi and pursuing her Dressed in my first suit—itchy Award for Best Picture. Beyond its exotic through Paris singing, “Gigi, what mir- MY and gray—I sat in the backseat locales, it was my first experience of char- acle has made you the way you are?” of our Oldsmobile as my parents crossed acters attempting the impossible. When Before that scene, what I’d observed the Brooklyn Bridge into Manhattan. At David Niven as Phineas Fogg realized about men and women in love was my Mama Leone’s I tasted Parmesan cheese that crossing the International Date Line parents’ marriage, and that didn’t seem for the first time. Then we walked a few had returned him to London on Day 80, something to pine for. blocks to the only theater in the world the communal exuberance was thrilling. Three Best Pictures, three years in a playing the widescreen epic comedy- A year later my brother took me to an- row: the thrill of daring men in the wide, adventure, Around the World in 80 Days. other palace, the Capitol Theater, for The wide, Todd-AO world; the horrors that I was already a regular at Saturday Bridge on the River Kwai.
  • 31 Days of Oscar® 2010 Schedule

    31 Days of Oscar® 2010 Schedule

    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy

  • Summer Classic Film Series, Now in Its 43Rd Year

    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
  • Anthony Quinn

    Anthony Quinn

    The T’ang Horse: Anthony Quinn Curated by Ysabel Pinyol An intimate look at the late actor’s legacy through the lens of his own art works and art collection January 24 – August 1, 2016 Anthony Quinn with his sculpture Windblown Lady, marble, c.1982. Photographer unknown. Courtesy of The Anthony Quinn Foundation. January 11, 2015 — Mana Contemporary is pleased to of more than 3,000 objects that included art works, rare present The T’ang Horse: Anthony Quinn, an exhibition of books, antiques, African masks, decorative eggs and Anthony Quinn’s own art, accompanied by a selection of an array of found objects such as rocks and fragments pieces from his vast personal collection that he acquired of coral. throughout his life and travels. The T’ang Horse: Anthony Quinn brings together a repre- Known primarily as an actor, Anthony Quinn was also an sentative sampling of Quinn’s own art works, juxtapos- accomplished visual artist. Over the course of his long life ing them with pieces from his collection. The exhibition is he produced an extensive oeuvre of paintings, drawings named after an antique Chinese ceramic horse sculpture, and sculptures. At the same time, Quinn was a voracious the first artwork Quinn purchased as a young man. Quinn’s and obsessive collector, amassing a personal collection art and his collecting were inextricably entwined, and both 1 / 2 were nourished and influenced by his constant travels as About The Anthony Quinn Foundation an international film star. Taken together, the objects in The Anthony Quinn Foundation creates and administers the exhibition trace the intersection between Quinn’s life, innovative programs to advance the idea that art, in all art, and film career, presenting a portrait of a prodigious- its forms, is essential to learning and the enrichment of ly talented and endlessly driven man who, in the words of the mind.
  • Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall

    Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall

    Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U.
  • Moneyball' Bit Player Korach Likes Film

    Moneyball' Bit Player Korach Likes Film

    A’s News Clips, Tuesday, October 11, 2011 'Moneyball' bit player Korach likes film ... and Howe Ron Kantowski, Las Vegas Review Ken Korach's voice can be heard for about 22 seconds in the hit baseball movie "Moneyball," now showing at a theater near you. That's probably not enough to warrant an Oscar nomination, given Anthony Quinn holds the record for shortest amount of time spent on screen as a Best Supporting Actor of eight minutes, as painter Paul Gaugin in 1956's "Lust for Life." But whereas Brad Pitt only stars in "Moneyball," longtime Las Vegas resident Korach lived the 2002 season as play-by- play broadcaster for the Oakland Athletics, who set an American League record by winning 20 consecutive games. And though Korach's 45-minute interview about that season wound up on the cutting-room floor -- apparently along with photographs of the real Art Howe, the former A's manager who was nowhere near as rotund (or cantankerous) as Philip Seymour Hoffman made him out to be in the movie -- Korach said director Bennett Miller and the Hollywood people got it right. Except, perhaps, for the part about Art Howe. "I wish they had done a more flattering portrayal of Art ... but it's Hollywood," Korach said of "Moneyball," based on author Michael Lewis' 2003 book of the same name. "They wanted to show conflict between Billy and Art." Billy is Billy Beane, who was general manager of the Athletics then and still is today. Beane is credited with adapting the so-called "Moneyball" approach -- finding value in players based on sabermetric statistical data and analysis, rather than traditional scouting values such as hitting home runs and stealing bases -- to building a ballclub.
  • Flickers Honors Anthony Quinn, Adopted Rhode Islander, on 100Th Birthday

    Flickers Honors Anthony Quinn, Adopted Rhode Islander, on 100Th Birthday

    Flickers Honors Anthony Quinn, Adopted Rhode Islander, on 100th Birthday Nominated for acting Oscars four times and winning twice, Anthony Quinn was one of the most prolific and recognizable actors of the 20th century. He appeared in over 160 films released between 1936 and 2002, many of them considered among the best of all-time or at least definitive in their genre. Born Antonio Rodolfo Quinn Oaxaca in Mexico in 1915, the actor lived the final years of his life in Bristol. After his death in 2001 at the age of 86, the town granted a request by his widow that he be buried in a private grave on the family estate off Poppasquash Rd. To commemorate this adopted son of its home state, Flickers: The Rhode Island International Film Festival, is holding a major curated retrospective running through Nov 2015 that will showcase 32 of his films. “We’re screening a large, large collection of his work,” said Shawn Quirk, RIFF programming director. He said that the retrospective was undertaken with the co-operation of Quinn’s widow, Kathy Benvin Quinn. Quinn’s mixed-heritage Hispanic ancestry – his mother was Irish and Mexican, and his father was of indigenous Nahuatl (Aztec) descent – allowed him to play a wide variety of ethnic roles, ranging from Bedouin Arab (Auda ibu Tayi, Lawrence of Arabia, 1962) to continental Greek (Alexis Zorba, Zorba the Greek, 1964). Some roles depended upon this flexibility, such the lead Johann Moritz in The 25th Hour (1967), a Romanian peasant during World War II who is mistaken for a Jew and sent to a concentration camp, reclassified as Aryan and conscripted into the Waffen SS, and then prosecuted as a war criminal.
  • Teaching World History with Major Motion Pictures

    Teaching World History with Major Motion Pictures

    Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking.
  • In St It Utodeestud Io Snorteamer Ic Anos

    In St It Utodeestud Io Snorteamer Ic Anos

    DIAS DAYS A n o V I APRIL 26 - MAY 3 N u m . 2 O B E l T i n t e r o obra original de Carlos Muniz, sera representada en el Teatro del Institulo los d'tas 28, 29 y 30 de abril. (Cease ultima pagina) INSTITUTO DE ESTUDIOS NORTEAMERICANOS Via Augusta, 123 - TelSIonos Z27 76 31 - Z17 73 9B - 228 90 38 . BARCELONA - 6 PROGRAM APRIL, 26 - MAY, 3 S u n d a y 2 6 11:00 a. m. Ensayo de “EL TINTERO”. Teatro. NOTE: The FILM SHOWING of the “THIS HAPPY FEELING” scheduled for today has been postponed to Saturday, May 2nd. M o n d a y 2 7 5:00 p. m. LADIES SECTION M EETIN G . Canasta-Bridge. Senior Member Lounge. 7th floor. 7:30 p. m. Ensayo General de “EL TINTERO”. Teatro. T u e s d a y 2 8 7:30 p. m. Representacion de “EL T IN T E R O ” de Carlos Muniz, por el Grupo de Teatro Experimental en Castellano del Comite de Estudiantes. Tickets: socios, 15 ptas.; no socios, 25 ptas. Wednesday 29 7:30 p. m. Representacion de “EL T IN T E R O ” de Carlos Muniz, por el Grupo de Teatro Experimental en Castellano del Comite de Estudiantes. Tickets: socios, 15 ptas.; no socios, 25 ptas. Thursday 30 10:45 p. m. LJltima representacion de “EL T IN T E R O ” de Carlos Muniz, por el Grupo de Teatro Experimental en Castellano del Comite de Estudiantes. Tickets: socios, 20 ptas.; no socios, 35 ptas.
  • 2015 Anthony Quinn Centenary Series

    2015 Anthony Quinn Centenary Series

    For details, art or photos about FLICKERS media releases, contact Tsutomu Brelsford, [email protected] Photos available upon request: FLICKERS CELEBRATES THE CENTENARY OF LEGENDARY ACTOR, ANTHONY QUINN WITH SPECIAL YEAR-LONG FOCUS AND FREE SCREENING SERIES ANNOUNCES FILM SERIES, PANELS AND SYMPOSIA IN COLLABORATION WITH THE RI FILM AND TELEVISION OFFICE AND THE ANTHONY QUINN FOUNDATION “ANTHONY QUINN: A 100 YEAR LEGACY” is a year-long focus by the Flickers: Rhode Island International Film Festival (RIIFF) on the art, history and film of legendary actor, Anthony Quinn presented in collaboration with the RI Film and Television Office and the Anthony Quinn Foundation. Running through November 2015, this special program will include free screenings of his films at libraries across the state with a curated monthly series; scholarly monographs at special events; panel discussions with film and history scholars; special breakout screenings of signature films, a student essay contest (high school and college) on the legacy of this seminal artist and a video competition geared for area college students to recreate a scene from one of five films that will be showcased: La Strada, Lust for Life, Requiem for a Heavyweight, Lawrence of Arabia, and The Guns of Navarone. Throughout film history, there have been a select few Latino actors who broke the barrier of language and stereotypes to make their way in the United States, paving the way for new generations of actors like Javier Bardem or Antonio Banderas. Perhaps the most notable was the magnificent Anthony Ruldolph Oaxaca Quinn, born on April 21, 1915, in Chihuahua, Mexico who became a Hispanic legend, managing to get from a humble beginning in Mexico to become one of the most iconic actors in Hollywood.
  • Stanley Kubrick, Spartacus and 1950S Jewish Masculinity Abrams, ND

    Stanley Kubrick, Spartacus and 1950S Jewish Masculinity Abrams, ND

    Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish ANGOR UNIVERSITY Masculinity Abrams, N.D.; Abrams, N. Adaptation: The Journal of Literature on Screen Studies DOI: 10.1093/adaptation/apv006 PRIFYSGOL BANGOR / B Published: 30/03/2015 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Abrams, N. D., & Abrams, N. (2015). Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity. Adaptation: The Journal of Literature on Screen Studies, 8(3), 283-296. https://doi.org/10.1093/adaptation/apv006 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 29. Sep. 2021 Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity ‘The New York and Jewish origins and backgrounds of many of those associated with Spartacus – Douglas, Kubrick, and Curtis, among others – provide a political and cultural subtext to the film’ (Girgus 95).
  • 1945-11-07 [P A-16]

    1945-11-07 [P A-16]

    curred if any of the odd people in- leu 15-minute episodes and launched accent for the French technical di- sian of 1876, but it is good Boyer,” at volved had once hinted at the truth on the radio, it could be used to sell rector of "Centennial Summer,” the and that’s the way itll be in the 'This Love of Ours’ Keith’s is a cad and probably not fit to see soap for years to come. adviser said, "It isn't exactly Pari- picture. By HARRY Mac ARTHUR. "THIS LOVE OP OURS," • Universal such sentimental goings on as "This picture with Merle Oberon and Charles Love of Ours." Is Model AMUSEMENTS. AMUSEMENTS. Nation’s Postwar Mess Makes As nearly as can be determined Korvln, produced by Howard Benedict, di- Boyer rected by William Dieterle, screenplay by ■ Melodramatic* of love such as are By the Associated Press. from a single exposure to it, "This Bruce Mannlni and John Klorer, based set forth here are the sort of Love of Ours,” which opened yes- on the play by Intel Pirandello. At thing HOLLYWOOD. Keith's. actors and actresses must love French for scenes in mo- Hit of the Season terday at Keith’s, Is a violent attack THE CAST. dearly, Talking Merle Sue Comedy on leaping to conclusions when you Karin. _Merle Oberon and Oberon, England and tion pictures isn’t just talking By JAY CARMODY. tousee_Charles Korvln Charles Korvin their roles not French. It isn’t that Because learn that your wife has been spend- niwal _Claude Rains play easy.