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.
204
no less amateur in this series than they ever were and this may be the fault of the film's director and producer.
At least, Edward R. Murrow on "See It Now" has shown that amateurs can be very moving and effective if handled properly. Recently, "See It Now" showed a meeting of cattle farmers debating governmental controls. The lined, rugged faces of these cattlemen were studies in conflicting and vivid personality, almost a lesson in Americana. The "March of Time" amateurs, on the other hand, seem rehearsed and ill at ease. I have a hunch that the difference stems from the fact that the cattlemen were speaking their own thoughts on a subject they felt deeply about and that the Levittowners were emitting lines put in their mouths by someone else.
My principal complaint about these documentaries is that they need a little bite, a little social commentary, a little less whole-hearted approval. Levittown is an imposing monument to American ingenuity but it does raise some disquieting thoughts. What, I kept asking myself, happens in a town where every blessed house has two bedrooms, no more, no less? Suppose somebody wanted to have seven children? What do they do — curb their parental urges? Or move somewhere else? Or what about the population pressures that are bringing about these vast boarding houses?
The series could use a touch more humor and — for want of a better word — some of the humanity that Murrow interjects into his shows. It is admirably photographed on 16 mm. film which, in spite of dire predictions to the contrary, has the appearance of 35 mm. "March of Time" is now seen (at various times and days) in seventy-three cities, giving it one of the largest circulations of any television show.
Songs
ONE of my readers, knowing my passionate interest in the popular song art, has been browsing through BMI's two catalogues called "Performindex" and has unearthed some examples which ought to be passed along to the rest of you.
"I have barely skimmed the surface of the second of these books but already my life is richer, fuller. Where else, I ask you, could you find nuggets of philosophy such as 'When You Face the Sun, the Shadow Falls Behind You' or 'Where There's a Will, There's Relatives, Relatives.' (I am particularly fond of that repetition.)
"Then there is the request song. 'Let Me Be Your Sidetrack' and 'Take Your Cold Feet Outa My Back.' Nothing can touch, of course, the rounded beauty of 'Turn Your Head Sweetheart — I Can Still See Your Face.' There is the torch song 'You Blacked My Eyes Once Too Often;' the love ballad 'When I Saw I Love U' (a difficult bit of enunciation, I should think) and the happy thought for today 'A Woman's Place Is in the Groove.'
"I also liked what might be called the information songs: 'When Grandpa Sat on the Mousetrap' (I've been unable to look that one up and discover the outcome) and 'It Bruised Her Somewhat' (some harrowing experience or other, I've no doubt). Yes, I strongly favor your study of these books and even the ASCAP catalogues — it broadens one's outlook considerably."
A