We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
|(&'J IJJV
■# — 0
:^e
JJ|J U MFp
¥
S
say, All the to-morrows shall be as to-day, All the to-morrows shall "be as to
n
*
bye t(
WHAT MAKES
/?// is no/ glycerin that glistens —
By Alfred
FROM within the enclosed set on a Hollywood studio stage filtered the wailing strains of a mournful melody, played with all the feeling the violinist could transfer to the bow and strings. The writer, whose knowledge of music is confined to the fact that it is useful stuff for dancing and that is said to have power to soothe the savage breast — or beast — what's an "r" between friends anyhow? — the writer, we repeat, didn't know what it was, but subsequent investigation led to the disclosure that the violinist was playing Massenet's "Elegie," the favorite sob selection of the film stars. Not a sound issued from the screened-in set except the trembly wails, and even the stage hands passing in the vicinity "got it" and went about on tiptoe like ushers at a fashionable funeral.
Suddenly there was a break in ^\ the soul throbbing silence. A chair was overturned
violently; then the voice of a ^/ \ young woman, registering petulance.
"Oh rats! You couldn't \ make me cry with that trick stuff if I was up to
my knees in sliced onions; and that would be some weepy situation. Give us 'Dear Old Girl' and we'll try it again."
All of which goes to show that a tune that will send one man marching gaily off to the trenches will send another limping into the exemption board quarters, registering flat feet ; what will make one person cry for sorrow will make another cry for help. Notwithstanding the exposes of some of our best little image breakers, real tears actually prevail in cameraland. In other words, all is not glycerin that glistens on the eyelash and cheek of the film queen. The climax o f many of our most popular emotions, sorrow, anger, joy — is tears. Yet some of our iconoclasts, the smart chaps who try to kill all of our illusions, would have us believe Massenet's "Elegie" is the favorite tear that emotion and emulsion are kindred spirits in
primer of" America's screen star. The vio filmland. There are more real tears than fake ones on the tl'of thTmlrrunt^'Rebrca'of screen, although the aid of the counterfeit tear drop is Sunnybrook Farm." invoked frequently for close-ups.