Film and Radio Guide (Oct 1945-Jun 1946)

22 FILM AND RADIO GUIDE Volume XII, No. 5 and her two lovers, were given some shading as human beings. Many of the early scenes had mature writing, expel t direction, amid an extravagant splendor of Technicolor photography. However, the second part was generally regarded as not so successful. What was lacking to weld this part into the structural unity of the first? I think the missing element was a veiy basic one — an idea, an attitude on the part of the author toward the social phenomena she was dramatizing. She was writing about the fall of a particular civilization, but there was nothing to indicate her own evaluations of that society or the historical reasons for its overthrow. Taking a long jump to more recent history, let me use as an illustration a picture 1 was connected with, because I had to deal with the main problem here under discussion. You will probably recall the rather divergent opinions regarding Mission to Moscow. I think it safe to say the views of people varied with their political rather than their dramatic convictions. Coming to another American film depicting recent historical events, it seems to me that no venture promised more than what has become known as Darryl Zanuck’s Wilson. Certainly it was a picture of abundant virtues, particularly in the high calibre of its acting, direction, and its lavish but tasteful production. Moreover, it handleil certain scenes — like the 1912 Democratic Convention — with a lusty feeling for Americana. However, in my opinion the picture failed to achieve its intended stature as dramatic history. Probably our greatest need is to approach factual material with an objective and searching mind, with a willingness to face and probe into issues, and with considered convictions about the world in which we live. ★ ★ ★ F. Hugh Herbert, long a wellknown playwright and scenarist, and now also a partner in a filmproducing concern, cautions the members of the Screen Writers’ Guild again.st the publication of vitriolic articles in which writers attack directors. Recent articles have appeared attacking Sam Wood and Cecil De Mille. Despite Mr. Herbert’s admonitions, however, one feels that the battle of the writers for a better place in the sun will probably continue. Alvah Bessie, in “Blockade,” discusses the various cinematic treatments of the Spanish struggle. Mr. Bessie saw military service in Spain during World War II and discusses, in addition to Blockade, such films as For Whom the Bell Tolls, Casablanca, The Fallen Sparrow, Watch on the Rhine, and ConfidcMtial Agent. He describes the pitfalls and difficulties of treating controversial subjects in entertainment films. A teacher, reading his article, cannot but reflect on the great contrast between educational and entertainment films. Controversial films afford an excellent opportunity for stimulating classroom discussion, but they afford only headaches to Hollywood scenarists. Movie writers fasten their hands upon their hearts when faced with the necessity of trying to please everybody in the presentation of subjects concerning which there is violent disagreement. Mr. Bessie, i)ulling no punches, remarks : The hero of Casablanca ran a dive and pursued Ingrid Bergman; and in Sparrow the hero ran after three women and pursued a vendetta that was both personally ludicrous and historically absurd. Arthur Strawn presents “The Case for the Original Story.” He points out the “strange fact” that although original screen stories are regarded with contempt by both “the men who write them and the producers who buy them,” about half of the literary properties bought by studios are originals, written by professionals and submitted through recognized agents. Mr. Strawn offers the following pre cepts for the benefit of those who write originals : 1. Minimize all doubt in the reader’s mind that the language you are trying to work with is English. 2. Ask yourself if the central idea would make the kind of picture you personally would walk a block out of your way to sit through. 3. Avoid mass output of trite stories, on the theory that if one of five sells, you’ll do all right. One out of five won’t sell, unless that one is distinguishable from the ruck. 4. Be concise. There are few originals that can’t make their point in thirty pages. This is good discipline for the writer. Studios have paid huge sums for originals written on only ten or twelve pages — and often pay nothing at all for some that run to eighty or one hundred. 5. Don’t “condescend” to write an original ; the disparagement of your own work shows in the product. ★ ★ ★ Coordination of Textbooks With Audio-Visual Education Lloyd W. King, in the January, 1946, issue of “High Points,” says: “Textbook publishers are alive to the implications of the wider and more effective use of visual and audio aids to teaching and are considering the educational possibilities of the coordination of these media and textbooks. The utilization of textbooks in any radio education program is obvious, since study guides, directives, tests, and summations must be included in the plan of teaching by radio. Again, if a city embarks on a program of adult education by the utilization of FM bands, what is more logical than to use specific textbooks as the bases of such courses ?”