Cinema Quarterly (1934 - 1935)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CUTTINGS As the art of the people, the screen must be allowed to reflect life truthfully, and our job is to keep it so instead of allowing it to be forced into vulgarity or saccharine side-channels. — Cecil B. de Mille, The Cinema. Hollywood has never paid British traditions a finer compliment than in the film shown here to-day for the first time, of Major Yeats-Brown's best seller, Bengal Lancer. Of the original story nothing has been kept but the title, and there is not a Yogi or a line of mysticism in the whole film. — Daily Telegraph. Blessed events are jealously guarded secrets in Hollywood. . . . The Mervyn le Roys managed to keep their Coming Event a secret for five months. — Motion Picture. The nation-wide church campaign to "clean-up" pictures has obtained such good results that the West End Citizens' Association Censorship Committee has decided further work will be unnecessary. — Washington Star. There was a young American actress, called Claudette Colbert, of whom I formed a very favourable opinion when I was in New York, but, alas, the poor girl has gone to Hollywood — abandoned the stage for the bloody screen. Imagine anyone preferring tinned salmon to fresh salmon. . . . Will Rogers and Eddie Cantor are among the immortals. — St. John Ervine, The Era. Hollywood actors can generally be relied upon in cases of emergency, but . . . you can't get them to act crazy! Walter Wagner, who is making Private Worlds — a story with the background of an asylum — for Paramount, wanted five or six players who could act "slightly nuts," as he put it. He had given tests to over 200 when he finished for the day, but he is still wanting his five or six players. None of the 200 had the faintest ideas of how to act "a trifle cuckoo." — Paramount Picture News. What the Picture Did for Me. 365 Nights in Hollywood. Two nights was too long for this one. Jimmy Dunn miscast again, and this Mitchell and Durant are another pair of radio stars that when seen on the screen are very unfunny. In fact, they are worse than that. They are an acute pain in the neck to every part of the anatomy that I know of. — A. E. Hancock, Showman's Review in Motion Picture Herald. CONTRIBUTORS TO THIS NUMBER RUDOLF ARNHEIM. Author of " Film." Now preparing a book on Television KIRK BOND. Baltimore film critic. ALBERTO CAVALCANTI. Director of En Rade, Pett and Pott, etc. CHARLES DAVY. Film critic of " The Spectator " and " The Yorkshire Post." LEWIS GRASSIC GIBBON. Author of " Sunset Song," " Cloud Howe," etc. Has written numerous novels and works on mythology under the name J. Leslie Mitchell. JOHN GRIERSON. Producer of G.P.O. Films. J. S. FAIRFAX-JONES. Director of Everyman Cinema, Hampstead. CLIFFORD LEECH. Lecturer at University College, Swansea. WALTER LEIGH. Studied under Hindemith. Composer of several comic operas, including "Jolly Roger" and "Pride of the Regiment." Arranged and composed the music for The Song of Ceylon. PAUL ROTHA. At present directing documentaries for Gaumont-British Instructional. His new book, " Documentary Films," will be published in the spring. 121