Broadway and Hollywood "Movies" (Jan - Nov 1933)

HOLLYWOOD MOVIES Hepburn"1 s "Hop” ( Continued from page 10.) the three animals apparently don’t agree, for there was a terrible set-to for a while and no one but Miss Hepburn dared to break them up. . .the monkey scowled. . . and then saw who it was. . . and was so repentant that he went over and patted the dogs in an effort to get back in Kathryn’s good graces. America's Prettiest (Continued from page 21.) that’s another story, as Kipling says. She has already posed for magazine covers, and for illustrations for advertisements by some of America’s most famous artists, including no less personages than MacClelland Barclay, Normal Rockwell, Howard Chandler Christy, James Montgomery Flagg, and others. Evelyn is an expert dancer, sings well, rides horseback, fences, plays tennis, swims like a fish, and is no mean athlete when it comes to the broad jump. Thoroughly American, wholesome and talented, — and youthful, — she comes into prominence at this time with all. the charm of a Spring breeze on a sunny morning. She wins the award offered by the Wilfred Academy of Hair and Beauty Culture, of New York, N. Y„ Boston, Mass., Brooklyn, N. Y., Philadelphia, Pa., and Newark, N. J., — as well as the prize of the finest portable typewriter made in America, — the SmithCorona. She also wins a life subscription to this magazine and a twenty-dollar gold piece which goes with the title of: “America’s Most Beautiful High School Girl.” Winners of the other prizes, and the Honorable Mentions will be enumerated in the February issue, together with a possible advance announcement to be made regarding the contest during the year of 1933. What We Applaud (Continued from page 13.) stranger still that we, who have demonstrated such creative capacity, are incapable of sensing the business need of shedding the implication of extortion. Give us an audience and we will create an art; upon this postulate we have ascended the heights; only blind incompetency can assail us. Our executives, who have served to promot e the art to a world audience, must now become servitors to that public. The millions extracted to cover promotional flare must be returned now in the efficiency of our art. The economic upheaval which has followed the world war is a challenge to waste. Achievement no longer consists in creating million dollar pictures, but rather in creating pictures which have appeal for the millions, — pictures modeled to meet the economic Philatelists 25 varieties, used U. S. stamps for collectors, good condition, no duplicates, 1.25, — unused stamps or coins accepted. W rite today to GEORGE ABBOTT, Suite 2010, Continental Bldg., 41st and Broadway, New York. N. Y. (Postage paid.) change which has come upon the millions. No artist is greater than his art, and no art is greater than its public. Greatness is a verdict only the public can render. Achievement in the movie art embraces every factor ip the process, which in the final analysis sums up as conception and execution, — or mind and money. The relation is structural; mind the plan and monpy the material; results the product of the two. Thus, it would appear, good pictures, where using accepted standards can be reduced to the mathematical formula of cost — Plan + Money — or the higher the value of plan, the lower can be that of money in fixing the resultant cost. Picture productions which hinge upon crystalizing plan through trial and application of material or money, tend with certainty to a cost which means ultimate strangulation of our public, and inevitable bankruptcy of the producer. The great call ip for directors who accept as their responsibility the development of outstanding transcriptions of the literary concept of author, through wise use of money. Thus only can we meet the needs of both the public and the producer. That thing which starts as a simple recital of life, gaining momentum in the telling, rising irresistably to a smashing climax (called; the picture) is the impress of time, and sums up our cultural capacity for expressing human relation to a given set of circumstances, which we call theme. It is the transcription of literature into life, but unlike the written word it moves, it speaks. It does not make its appeal to thought, it is the culmination of thought, expressed in action and sound, — and it is yours to challenge. To you, — and you, — and you, — and you, — and you! Surprise, delight, suspense, laughter, tears — such is the range. Great industries are not built on the unstable. The motion picture industry has achieved its commanding position among the Arts, because, in the main, the results, as brought to the screen, represent exhaustive research in all that pertains to the mechanism of presentation and tireless preparation to insure dramatic sufficiency. The art of illusion and the art illusive, — such are we. If the mountain come not to us, we create it. Our work may not follow the processes of nature, yet we cause you to see it as the natural. In this we are masters. Though it may be said our judgment of need for miracles is oftimes unsound, much that we do is miraculous. We create the outward aspect of the historic past and distant scenes which otherwise might be impractical of presentation, and straightway fall into the error of creating elaborate sets which might be avoided. 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