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FEELINGS AND EMOTIONS i6i
But in writing stories of modern girls wiio have thus emancipated themselves from the economic seclusion of preceding centuries, writers should not forget that the predominant female drive is still the drive of captivation. The screen heroine who merely makes a success of her career will never attract a large number of box-office patrons.
It is an excellent modern touch in a screen story to show the heroine succeeding at some independent occupation. The one thing that counts, however, in what the girl does with her success, once she has attained it, is the degree to which she exercises her captivation with the power and independence at her command. Make your screen heroines modern young women. Make them conscious of the fact that woman is, and always has been, the love leader in affairs of the heart. Make them conquer the world, or at least enough of it to give them a good living. Then show how their economic conquest enables the girls to captivate the men of their choice.
It may safely be said that no successful screen story can contain a universal emotional appeal unless it is highly flavored with erotic passion. The two emotional elements of passion should be clearly shown. The passionate lover should show evidence of a wish to possess and claim for himself the attention and affections of his lover. That is the emotion of inducement. But the passionate lover should show even more clearly a mad impulse to give himself, body and soul, to the service and control of his beloved. This is the emotion of submission. The clever blending of these two types of action, with the submissive actions predominating, convey to the moving picture audience the emotional effect of passion.