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THE CAPSTONE
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associates, he bought the property at the northwest corner of Forty-third Street and Broadway; a Southern gate to Times Square. He carried the existing building as a taxpayer until the Publix string was completed; then, in 1926-27, rose the thirty-story Paramount Building; theatre de luxe below, housing for his enterprises above. Roxy’s palace of the cinema in Fiftieth Street is probably the last word in glittering, pretentious, tinselled framework for moving pictures. But the Paramount, set cunningly near those entrances of the subway by which most spectators enter the City of Delights, seems to dominate Times Square. Amorphic in some aspects, merely pretentious in others, in still others massive and imposing, its veiled illumination makes it by night all wonder and mystery. And in these contradictions it symbolizes the institution which gave it being — the motion picture with its shallowness and yet its profound influence on international comities, its shimmering beauties and yet its tawdriness, its educative value and yet its defiance of orderly thinking, its realism of scene and setting and yet its romanticism of action and plot. . . .
;i It stands a symbol in another way — the capstone of a career. Adolph Zukor had now rounded this strange business of his into final form. At all stages, from the raw film to the screen, he controlled his product. Stretching from the Paramount Building round the world ran an organization as delicate as a watch and