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October .15th., 1941.
CINEMA. BUNS % ma
H ockey in Gotham
It’s some years since the USA borrowed Canada’s winter pastime, hockey. Thereafter Canuck puck stars were imported to build out American ice teams, just as Canada brings over American baseball players. Now at war, we’re giving a large part of the admiring USA another lesson in fighting spirit— still aided by our fellow-tenants of America.
At the time of hockey’s first stop at Uncle Sam’s place the New York Sun reported its arrival with the following exclamations of amazement:
“Hockey is a combination of football, golf, soccer, prizefighting, tong war iand the last riot at Herrin, Illinois.
‘It is a ‘crime wave on ice.
“If one man dashes into another on a slippery street, knocks him down and bashes him between the eyes with a crooked stick in a rink, it’s first-class hockey.
“Sporting enthusiasts who like their thrills served fresh
every second and who consider any sport dull when any of the |
contestants are in an upright position have found what they ordered. Here, at last, is a game played while every contestant is in the act of falling through space.
“It makes baseball seem like casual exercise prescribed by the doctor for old gentlemen with stiff joints. Beside it football looks like something they bring into the nursery to keep the children out of mischief.
“Hockey as a game comes from the great open spaces of Canada, where men are ice hounds and women are fancy skaters. It is played between two teams of five men each, none of whom cares a thing about his physical future.
‘It is played with a small black rubber heel, the aim of each team being to deliver it into a cage guarded by a youth whose people evidently never gave him any good advice.
“When it is time for a hockey game to begin the referee skates to the centre of the rink and blows a whistle. This is a signal to all physicians, nurses and internes to get ready for business. He then drops the rubber heel and flees for his life. The rubber heels is immediately battled for by the opposing teams on the theory of an eye for an eye, a tooth for a tooth and a fracture for a try at the goal cage. During the carnage the busiest individual in the arena is the goal-tender, who is dressed like the man in the Michelen tire advertisement, and who has to stop more missiles than the City of Rheims stopped German shells.
“After the end of the final period surgeons examine the goal-tenders. The game is awarded to the side whose. goal-tender has the best chance of recovery.”
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“I do the greatest high-dive in the world,’ the applicant said to Billy Rose. “I dive from a 500-foot tower into a barrel of sawdust.”
The producer called some of the staff in and prepared to try the would-be diver. He climbed the tower, dived perfectly, got out of the barrel and brushed himself off.
“Tll give $1,000 a week,” said Rose. ‘The man refused and continued to refuse every offer. “I changed my mind,” he = said.
“Why?” asked Rose. ‘“Because,”’
replied the man, “it’s the first
time I did it and I don’t like it!” |
Page 7
The Director — What Does He Do?
That’s the question most often asked of people who are supposed to know something about the making of a _photoplay. Countless young men are ambitious to become directors—to them the men who bawl out the stars, holler for quiet, are catered to by beautiful women, indulge themselves in eccentricities and dress fantastically.
Now Garson Kanin, who made “Tom, Dick and Harry,” ‘They Knew What They Wanted,” “A Man to Remember” and other fine efforts, in an article in Theatre Arts Monthly, makes plain the task of the director. He writes:
“One of the first questions to get out of the way concerns the director’s place as an artist. Any theatrical director, stage or screen, is an interpretive rather than a creative artist. I hasten to point out that this is an opinion rather than an axiom. There are many who don’t agree with me, especially directors. For myself, I can feel no drop in prestige in being considered an interpretive artist when I share the title with Arturo Toscanini. For that matter the only truly creative artist in a film is the writer. It is he who chooses a
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theme, conceives the artist and creates the characters through which to tell it. Every one else— the actor, the director, the” designer, the composer, the cameraman—best perform their duties by subjugating their own task to the material at hand. Remember, I’m speaking of the director, not of the director who writes. When he writes, he creates. When he directs, he interprets. He reads a story. Then he tells it. That in the main becomes the art of the pic
‘ture director. The style, the charm,
the power of telling a story.
“In that the personality of the story-teller is important. Take the simplest anecdote—Pat and Mike. Hear it told by some one, just told, and the effect will be flat. Then hear it told by someone with a talent for story-telling. It has development, climax, point. You’re amused.
“Telling a Pat and Mike story an hour and a half long is the task of the movie director. To that he brings his own technique, essentially compounded of what he thinks and feels and believes-—his personality. The personality of a good di
(Continued on Page 8)
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