Censored : the private life of the movie (1930)

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PRIVATE LIFE OF THE MOVIE The movie censor is rather pitiful in his urge to put us back in the ankle-and-bustle era, while sex books, sex lectures, and sex news surround his dingy office. But when it comes to crime he is merely a sad-eyed misfit hiding under the bleachers while the crowd above him roars at the show. While the movies must doctor up all crime action, still allowing the public to know full well who kills whom, or how she was seduced, or how he was robbed, the Press prints pictures of the Tulip Garden, the ganders and the sporty auto of Peaches Browning, pages are filled with photos of the apple tree, the location of the bodies and the Parsonage all made famous in the Hall-Mills case; and the window sash in splendid enlargement perpetuates the glories of the Ruth Snyder-Judd Gray murder. Again, the censors and Will Hays boast of keeping politics out of the movies. No wonder we have so few movies that have lasted a decade. Can any art thrive on disinterestedness? Does not creative energy arise from partisanship? Was not Christ the greatest of partisans in his understanding of the 90