Film and Radio Guide (Oct 1945-Jun 1946)

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\\\ \\ / /// RADIANT R*t. U S. P«t OH BETTER SCREENS FOR BETTER PROJECTION ^// 1 \\\\ RADIANT Screens make aH pictures look better Make Your Pictures "POP OUT" Clearly Your motion pictures or stills seem to jump out from the screen with startling realism! You get brilliance, clarity, richer, more accurate colors. The secret of this astonishing improvement lies in the New Radiant "Hy-Flect” screen surface— composed of thousands of tiny glass beads embedded in the snow-white plastic screen surface— glass beads that reflect light instead of absorbing it. And in the New 1947 line of Radiant Screens you get this . . . all these Wonderful 1. Automatic Leg Opening (Pat. Pending) 2. Screen Levelier (Pat. Pending) 3. Shakeproof Safety Catch 4. Feather Touch Adjusting Handle (U. S. Patent) 5. Double-Action Auto-Lock (Pat. Pending) Exclusive New Features 6. Built-In Shock Absorbers 7. Automatic Leg-Lock 8. Rubber Ball Tripod Feet 9. Triangular Steel Tube Construction 10. Automatic Leg Adjustment 11. Finger Grip Carrying Handle 12. Streamlined Design and Duo-color Scheme Radiant Screens set up quickly, hold firmly in position, are easily adjusted—add more pleasure and effectiveness to all picture projections. The Radiant "DL" here illustroted is portable, sturdy, compact,easily set up, quickly adjustable. The Radiant line includes Wall, Ceiling and Table Models in sizes 22" x 30" to 20 feet by 20 feet and lorger. Send for FREE Screen Guide '‘Secrets of Good Projection," a 32-page booklet, gives proper screen sizes, correct projection lenses, tips for improv ing projection and many other valuable facts. Mail couponforyour FREE copy. e. Wall, Zone State Once the couple were absolved of the crime they had committed, they overcame the mutual distrust engendered by the fact that each had testified against the other at the trial, and then fell thoroughly and convincingly in love. Only an auto accident which killed the girl finally sent her lover to the chair and to a belated regeneration and repentance. The fact that a satisfactory love could be based upon a murder is held out as a real possibility which only an accident kept from complete fulfilment. Yet the fact that the lovers had deliberately killed a man revealed flaws in their characters which were symptoms of spiritual degeneration. To make a film like this ethically sound, it is not enough to bring the criminal to a perfunctory and l')elated justice at the end. The wages (jf crime must he its spiritual effect on the crim inals themselves. Otherwise, in spite of any ultimate punishment, crime is made feasible and attractive, and the fear of being caught becomes a minor deterrent. If criminals can pass off their crimes lightly, the very fact that they are not affected by their crimes should be shown as a clear indication of their deadening, repulsive superficiality. To be ethically sound, such a film should emphasize the effect of crime on those who commit it. It should show the drama of their spiritual degeneration. The most profound effects of crime take place within people themselves. The criminal’s most terrible punishment is the effect on his eternal soul. It is difficult to portray this effect. Attempts to do so are often heavy-handed, moralistic, and inept. But it is this difficult job of a constructive and con vincing portrayal of the deeper issues of life which I believe Hollywood must ultimately face. 3. Social Values — Vacation From Marriage: There is hardly any other area of our American life on which entertainment films have had a stronger influence than that of love and marriage. The movies have, I believe, reflected the current trends of our culture in this regard and have tended to standardize a n d perpetuate these trends. The liberalization and breakdown of our moral standards following World War I was faithfully and sensationally reflected in film. In films of that day, bad women were made attractive; goodness became almost symptomatic of an ascetic or a withered soul. Illicit love was made intriguing, e.xciting, and dramatic: to be laithlid in love was to he either stodgy or foolish, or both.