1-5-80
D.W. Griffith, the father of motion pictures, used to say there were only two people who outworked him — Mary Pickford and Lillian Gish. Pickford, who died last May, made her final film in 1933. But Lillian Gish never got around to retiring. At 83, she is perhaps the most active living legend in America.
Sipping1 tea at her Eastside apartment, which is decorated like a Victorian drawing room, Gish appears to have defeated time. Her clear blue eyes, porcelain-smooth complexion2, and slender, girlish figure have not changed all that much since she rose to international stardom in Griffith's controversial 1915 classic, The Birth of a Nation. She also starred in his 1916 film Intolerance, a box office failure when released, but later recognized as a masterpiece.
An animated3 speaker who makes sweeping4 gestures, she still has the crystalline voice and flawless enunciation5 that enabled her to make the transition from silent films to talkies and Broadway shows in the early 1930s. The 1978 Robert Altman film A Wedding marked her 100th screen appearance.
"I've never worked harder in my life than I have in the last three or four years," says Miss Gish, who, during that period has made her singing and dancing debut6 in Washington's Kennedy Center, hosted a 13-week series for public television, The Silent Years, appeared in an ABC-TV movie of the week, and toured the world three times to present a one-woman show that combines film clips with narration7. Her autobiography8, The Movies, Mr. Griffith and Me, has been translated into 13 languages.
"I dedicated9 the book to my mother, who gave me love; to my sister, who taught me to laugh; to my father, who gave me insecurity; and to Mr. Griffith, who taught me that it was more fun to work than to play," she recalls with merriment, describing how her mother wound up in the theatre around 1901 due to financial need. Five-year-old Lillian and her 4-year-old sister Dorothy soon followed in the business. "We didn't use our real names because we didn't want to disgrace the family. … They used to have signs on hotels: 'No actors or dogs allowed.'"
She never got a chance to attend school. "I loved the book Black Beauty, and everybody would read it to me on the train or waiting for the train. Well, I finally had it read to me so much, I knew it by heart. And that's how I learned to read. When we were travelling around, mother would always take her history book. When we were in historical places, she'd take us to where history happened."
At the height of her silent film career, Lillian received 15,000 fan letters a week, many from overseas. "Silent films are the universal language that the Bible predicted would bring about the millennium10. … When Mr. Griffith made his first talking picture in 1921, he said, 'This is committing suicide. My pictures play to the world. Five percent of them speak English. Why should I lose 95 percent of my audience?'
"One of the things I'm trying to do now is to bring back silent films and beautiful music. I'm doing it with my film La Boheme, which was made in 1926. I've done it in the opera house in Chicago with an organist, and at Town Hall here. Harold Schonberg of the New York Times gave it the most ecstatic review."
Her credits include an honorary Oscar award, dozens of major stage roles, and a movie that she co-wrote and directed. But Miss Gish, with characteristic modesty11, prefers to talk about her friends and family. Bitterness and complaint are alien to her nature, although life has not always been easy. She never married, and her mother, to whom she was highly devoted12, spent the last 25 years of her life as an invalid13. "But she was never unhappy," testifies Lillian. "She was always the first to laugh, and the gayest."
Following her mother's death in 1948, the apartment was given to Dokey, her nurse, who died the following year. Then Lillian and Dorothy Gish shared the apartment until Dorothy's death in 1968. Although Lillian now lives alone, she has no opportunity to be lonely. Besides work, travel, and reading — her favorite activities — she has 13 godchildren.
One thing that helps keep her young, says Miss Gish, is her intense curiosity. "I was born with it, thank heavens. I feel sorry for people who say they're bored. How in the world can anyone be bored in the world today? How can fiction complete with what's going on?"
A few of her films, have been lost forever, since no original prints exist in good condition. Most, however, are still shown around the globe, which explains why her autobiography is available in such languages as Burmese and East Malaysian. The Museum of Modern Art on West 53rd Street has one of the country's finest collections of vintage Gish films.
One of her upcoming projects is a movie based on a story by the Danish writer Isak Dinesen, scheduled to begin shooting in Europe this winter. Another is a television pilot to be shot in California for Julius Evans.
Asked to name some of the things she is most curious about today, Miss Gish quickly replies, "Naturally what's happening in Cambodia — how they're going to solve that problem. Those poor children. It breaks my heart. … And who's going to be our next president. We've come to the point where we should have two presidents, I think — someone to look after the world and somebody to look after us."
died of natural causes 2-27-93. born 10-14-1893
WESTSIDER MILTON GLASER
Design director of the new Esquire
2-11-78
Two decades before Playboy first hit the newsstands, there was only one men's magazine in America. A generation of schoolchildren grew up speaking its name in hushed whispers, though anyone reexamining those early issues today could hardly understand why. The magazine was Esquire.
Its popularity has dipped somewhat in recent years, but Esquire still sells one million copies per month. And it still has the reputation of being the most tasteful, literary, and sophisticated publication for the American male. If some people have complained that it has not kept up with the times, they won't be able to say that any longer — not since Esquire became the property of Clay Felker and Milton Glaser, the publishing team who made New York magazine into one of the best-selling weeklies in the city.
With Felker as editor and Glaser as design director, Esquire will have a totally new look starting with the February 14 issue. It will have a different size, binding15, shape, length, and contents. It will also change its name to Esquire Fortnightly and appear 26 times a year instead of 12.
"The new Esquire will be ungimmicky, easy to understand," says Milton Glaser, taking a half-hour break from his numerous artistic16 projects. He is as animated as his enlarged signature, which glows from a custom-made neon lamp on the wall beside a Renaissance17 Madonna and a framed Islamic drawing.
The first thing you notice about Glaser is the colored handkerchief adorning18 his jacket pocket. Then you notice how relaxed he is, and how easily he smiles.
"The name of the game is to get an audience that identifies with the magazine and feels it's on their side. People buy a magazine because it's of considerable interest to them, not because they get a deal on the subscription19. … What you want to do is to find the right-size audience, made up of people who believe in the values that the magazine reflects."
The original Esquire, Glaser points out, helped to glamorize the rich, privileged man of the world — the man who had arrived, who knew his place in the world, and whose greatest desire was to surround himself with the symbols of wealth, such as fancy cars and beautiful women.
Today, says Glaser, the American male no longer measures success by symbols alone. Rather, he aims for self-development, for the richness of life itself — professional, personal, physical, intellectual and spiritual.
Clay Felker writes, in a yet-unreleased editorial in Esquire: "We will explore how a man can develop a more rewarding life with the women and children in his life. … I see Esquire magazine as a cheery, book filled, comfortable den14, a place of wit and sparkling conversation, of goodwill20 and genial21 intelligence, where thoughtful discussions take place and wise conclusions are reached."
Milton Glaser is probably the best-qualified artist in America to redesign Esquire. Besides his success with New York magazine, which began as a Sunday supplement to the old New York Herald22 Tribune, Glaser has designed The Village Voice, Circus magazine, New West and two of France's leading publications, L'Express and Paris-Match.
Glaser's posters have sold in the millions. He has put on one-man exhibitions in the U.S., Europe and the Middle East. (He believes, in fact, that his work is more appreciated abroad than at home). He has designed everything from stores to toys to new typefaces.
He is a faculty23 member at both Cooper union and the School of Visual Arts. He is responsible for all the graphic24 design and decorative25 programs at the World Trade Center. Two volumes of his works have been published — Milton Glaser: Graphic Arts and The Milton Glaser Poster Book.
In addition, he is a noted26 food critic. For the past 10 years he has co authored and constantly updated the best-selling Manhattan restaurant guide, The Underground Gourmet27.
A native New Yorker, Milton Glaser has fond memories of his boyhood in the Bronx. He especially likes recalling an event that took place in 1933 — the year that Esquire was founded.
"When I was 4 years old, a cousin of mine said, 'Would you like to see a pigeon?' He had a paper bag with him and I thought he meant there was a pigeon in it. But then he took out a pencil and drew a picture of a bird. I was so astonished that you could invent reality that I never recovered from it. The only thing I wanted to do in my life was to make images."
Milton and his wife, Shirley, moved to the West Side last August. "I guess it was the opportunity to find the right physical space. I like the neighborhood because of the mix of working class, middle class, and upper class. … That really is the richest thing the urban scene offers." The number of Westside restaurants listed in The Underground Gourmet has sharply increased over the years. Among his favorite dining spots of all price ranges are Ying's on Columbus Avenue (at 70th St.), the Cafe des Artistes (1 West 67th St.), and the Harbin Inn (2637 Broadway).
Look in any New York subway station and you'll see a poster advertising28 the School of Visual Arts. It shows two identical men in a room. One is lying on a bed and the other is floating in the air. The caption29 reads: "Having a talent isn't worth much unless you know what to do with it." Milton Glaser, the designer of that poster, is a supreme30 example of a man with many talents who knows what to do with all of them.
点击收听单词发音
1 sipping | |
v.小口喝,呷,抿( sip的现在分词 ) | |
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2 complexion | |
n.肤色;情况,局面;气质,性格 | |
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3 animated | |
adj.生气勃勃的,活跃的,愉快的 | |
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4 sweeping | |
adj.范围广大的,一扫无遗的 | |
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5 enunciation | |
n.清晰的发音;表明,宣言;口齿 | |
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6 debut | |
n.首次演出,初次露面 | |
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7 narration | |
n.讲述,叙述;故事;记叙体 | |
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8 autobiography | |
n.自传 | |
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9 dedicated | |
adj.一心一意的;献身的;热诚的 | |
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10 millennium | |
n.一千年,千禧年;太平盛世 | |
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11 modesty | |
n.谦逊,虚心,端庄,稳重,羞怯,朴素 | |
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12 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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13 invalid | |
n.病人,伤残人;adj.有病的,伤残的;无效的 | |
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14 den | |
n.兽穴;秘密地方;安静的小房间,私室 | |
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15 binding | |
有约束力的,有效的,应遵守的 | |
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16 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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17 renaissance | |
n.复活,复兴,文艺复兴 | |
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18 adorning | |
修饰,装饰物 | |
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19 subscription | |
n.预订,预订费,亲笔签名,调配法,下标(处方) | |
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20 goodwill | |
n.善意,亲善,信誉,声誉 | |
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21 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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22 herald | |
vt.预示...的来临,预告,宣布,欢迎 | |
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23 faculty | |
n.才能;学院,系;(学院或系的)全体教学人员 | |
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24 graphic | |
adj.生动的,形象的,绘画的,文字的,图表的 | |
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25 decorative | |
adj.装饰的,可作装饰的 | |
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26 noted | |
adj.著名的,知名的 | |
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27 gourmet | |
n.食物品尝家;adj.出于美食家之手的 | |
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28 advertising | |
n.广告业;广告活动 a.广告的;广告业务的 | |
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29 caption | |
n.说明,字幕,标题;v.加上标题,加上说明 | |
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30 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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