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15505 ROSCOE BLVD. dt Situ Diego lvecuuiy • SEPULVEDA E. G. Robinson in a typical scene. chilling grip on the nation and soon no one was in the mood for the unreal glamour that Hollywood had been selling. Bootlegging and gang warfare occupied a great deal of the headlines about that time, and Daryll F. Zanuck who had recently been appointed head of production ät Warners decided to capitalize on these headlines and initiated the Gangster Film. LITTLE CAESER with Edward G. Robinson was the first and it set the pace and formula for the dozens of such films that flooded into its wake. New names such as Spencer Tracy, James Cagney and Paul Muni became household words via this type of film vehicle. Here was raw emotion set in the mood of the day. The public liked it and bought it and Hollywood supplied it. What these films were supposed to say . . . that “crime does not pay” . . . seemed to have been lost in the “glamour” image of the gangster stars, and guardians of the public morals began to fidget at the protest heard from the churches. The argot of the gangster began to be heard everywhere: Rub him out! ... So what! .. . You can dish it out but you can’t take it! .. . Frisk ’im for a rod!, etc., etc. Then the pressure from civic organizations was brought to bear and Will Hays, the Movie Czar, banned the Gangster Film. Here was a phase of American life, truthfully exposed in all its graft, corruption and flouted laws by the naked eye of the camera. It apparently pricked the conscience of the guardians of public morals and they decided to hurriedly turn out the light and make beüeve it did not exist. With the last of the gangster films, Hollywood needed a quick replacement in the vein of the raw emotions and horror and found it in FRANKENSTEIN. The first of these horror films was DRACULA, but FRANKENSTEIN, which was filmed with great skill and scope, took top rank in that category. It created a tremendous Sensation and movie houses advertised nurses, doctors and even ambulances in attendance during its showing. The film grossed a fortune and was quickly followed by a number of Frankenstein pictures. Then to compound the horror, Frankenstein and Dracula were included on the same bill and remained the ultimate in the scare of a lifetime. With the depression letting up and a touch of silver lining returning to America, a lighter and somewhat gayer mood began to prevail (or possibly “monstering” was beginning to pall) and a new type of film came on the scene. Radio had, for a while now, been utilizing the big names of Hollywood for brief appearances on the air and in skits appropriate to their talents. This brought on a certain amount of wailing from Hollywood, for they claimed that this practice was hurting ticket sales. Nelson Eddy and Jeanette MacDonald Now, Hollywood decided to do a turnabout and did a film called, THE BIG BROADCAST. That was the forerunner for a number of these pictures utilizing the big names of radio. THE BIG BROADCAST had a somewhat nebulous love story revolving around Stuart Erwin and Leila Hyams so as to utilize the talents of radio’s"big names of the moment, namely, Bing Crosby, Kate Smith, Turn to Page 20