The House That Shadows Built (1928)

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292 THE HOUSE THAT SHADOWS BUILT discussion, he looses eloquence, an epigrammatic faculty almost poetic at times and even a sly, perceptive humour. I was present when a visitor maintained in friendly argument that sex is the foundation-stone of the moving picture. “It is?” inquired Zukor. “Did The Birth of a Nation depend on sex? Did The Covered Wagon or The Big Parade or The Ten Commandments ? Or any other of the films which we managers advertise as epoch-making? The story’s the foundation of the whole structure. If it’s a good story that depends on sex, well and good. If it’s a good story that doesn’t depend on sex, just as good. Everyone of course likes a pretty, attractive woman. It’s part, and a very pleasant part of the scheme of life which we’re trying in our imperfect way to put onto the screen. Those directors who make their films drip with sex confess their own shallowness and inexpertness. They’re unable to tell a really first-class story, so they try to save themselves by sensationalism. It’s like the political orator who hasn’t anything more to say and knows he’s stuck, and so he goes on : ‘ Behold the starry banner, the proud symbol of our freedom.’ ” A turbulent, sparkling river, with rapids, lapping of waves on the shore, whirling eddies. It seems to the eye that these manifestations of power contain the power itself. They do not. Underneath, unseen motive-power of these striking manifestations, runs the current —