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HOLLYWOOD MOVIES 13
What Do We APPLAUD in PICTURES?
’What Is the Public’s Right in Productions? PART 2
By I. W. Ullman
WE do big things in Hollywood; — we do big things because we think big things. We run riot in spots yet no industry boasts more system. We achieve more that borders on the spectacular with less ado than chn be claimed for any other people.
We dare more than any other business would tolerate, and we accomplish more than most do. We are at once the most efficient and the most wasteful of people. Since we are dedicated to illusion, we cultivate illusion and yet remain normal at times, though mostly otherwise. We have done so many things, so often and so well, we have managed to fool the world and incidentally our selves, all of which somewhat explains Hollywood and its people.
This kaleidoscopic pattern foundry of mortal dreams has quickened lifein every clime ; tne worshipers in its halls and at its shrines outnumber that of any other cult, for its symphony is achievement.
It is well nigh the most far' reaching influence in civilization today, as it functions to articulate the slumbering aspirations of the millions.
We are made drunk with all it portends, and were it not for the comedies of the indus
Director Russell Mack (,in oval at right), supervises a scene from “ Once in a Lifetime." Below, at left: Red Rock Canyon ‘‘pinch hits" for the Valley of Kings in ‘‘Mummy,” Lower right: ‘‘The Heart of New York" re-created on the Hollywood lots.
try which jar us to reality, we should miss the satire of it all in the amorphic spell of its imagery.
So deep is the need for something to divert us humans, and so vast the audience, that we literally have poured millions into productions which have dazzled a world with their brilliancy, and blinded the producer to the cardinal principle of business. In our thirst to garner the profit that carries with the cry for entertainment, we toss a king’s ransom into the lap of an experimenter, who, though surrounded by a veritable army of literary experts and scientific technicians, and by whom every element of the drama is shaped and planned, still must need shoot 300,000 to 400,000 feet of film to yield a net 8,000 feet of picture. The speculative grandeur of the venture perverting responsibility to principal, in an effort to stand revealed as supreme interpreter.
Good!— Bad!—' Who shall judge? Who shall answer for the magnetic stream of gold which, seeking the cohesion of mass attraction, has become a glittering fluid of poison, poluting brains and conscience of directors in the mad purpose of screen sensation? Delighting a world and yet undermining an industry.
Strange that such kindred instruments, radio and screen, should predicate their claim to recognition upon so divergent a base. But ( Cont’d on page 57)