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.
Left to right, Spencer Tracy in "The Showoff" (1934); Joan Crawford, with the late John Barrymore in "Grand Hotel" (1 932) J Gary Cooper in "Morocco" (1930); Humphrey Bogart in "Kid Galahad" (1937); Betty Grable in "Hold 'Em Jail" (1932); James Cagney and Bette Davis in "Jimmy the Gent" (1934); Tyrone Power in "Alexander's Ragtime Band" (1938); Bing Crosby in "Mississippi" (1935); Robert Taylor in "His Brother's Wife" (1936); Mickey Rooney in "Boy's Town" (1938); Claude Rains in "Crime Without Passion" (1934) . .-. .
7
Barbara Stanwyck in "His Brother's Wife" (1936); Clark Gable in "Saratoga" (1937); Irene Dunne and Charles Boyer in "Love Affair" (1939); Cary Grant in "My Favorite Wife" (1940); Fred Astaire and Ginger Rogers in "Top Hat" (1935); Edward G. Robinson in "Little Caesar" (1930); Joan Bennett in "Mississippi" (1935); Walter Pidgeon with the late Jean Harlow in "Saratoga" (1937); Errol Flynn in "Captain Blood" (1935); George Raft in "If I Had a Million" (1932); Katherine Hepburn in "Little Women" (1933).
DO YOU REMEMBER THEM WHEN?
You Will Recall. Perhaps to Your Surprise, That These Were Stars So Long Ago
Spxp^pce flame*' fre Iflafa V^t SctH + + +
We Need New Stars!
Js this an age of mediocrity?
Soft living, incentive-blunting high taxes and a high cost of living that strangles the urge to start at the bottom and be hardened in the crucible of hard knocks — has all this palled the personality, subjugated the individualist, eliminated the colorful character that could grip and hold the public fancy?
Look at the established fields of entertainment and sports that once were stocked with high powered crowdpleasers, and you realize quickly that it might be so. The idolatry that characterized the public's attitude toward these personalities and brought paying customers nocking to boxoffices and turn
By BARNEY STEIN
Cxclu^e % BULLETIN Jeatut-e
stiles at the mere mention of their names seems to have gone the way of the 5-cent cigar and the million dollar boxing gate.
This is not to say that the dollars have failed to come in at the boxoffice. Show business and sporting events have, up until the last couple of years, prospered beyond precedent. For almost a decade, we experienced the fattest in entertainment history.
But stalking behind this prosperity was the spectre of apathy, the false com
placency that is a handmaiden of easy money. The masses, in their eagerness to seek out any and all available entertainment to satisfy leisure hours, shelled out the buck with a lavish hand and made the entrepreneurs of pleasure fat and lazy. The people who pulled the strings that made thousands for entertainers and millions for themselves were lulled into a forgetfulness of the fundamentals of their business — showmanship and the public's demand for new and exciting personalities.
The film industry, in particular, was guilty of this lapse. It had built up a star system, a glamorous array of astral
(Continued on Page 21 )
DECEMBER 18, 19 5 0