How my father came to hear of this little stroke of business I never knew, but some little bird or other whistled it to him, and he was very soon down upon me in right earnest.

[S]in and sorrow it were, considering the hardships of this noble and gallant knight, no whit mentioning or weighing those we ourselves have endured, if we were now either to advance or retard the hour of refection beyond the time when the viands are fit to be set before us.

At least five directors were involved in the production, from Korda’s hapless original choice, Ludwig Berger, whom he came to dislike for his intimate approach to material that Korda had envisioned as grand and sweeping; to Michael Powell (brought in mainly to work with Veidt, whom he had directed in “The Spy in Black” and “Contraband,” Veidt’s first two British films); to the American action director Tim Whelan; and, when the production moved to the United States, to the influential Art Moderne production designer William Cameron Menzies and Korda’s more directorially accomplished brother, Zoltan Korda.

How does a waterless urinal have a drain trap?