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none of his prophet's whisperings because Sir Launcelot was to him as much of a nobleman as the King himself and Miles Standish weakened. The real grip in Jupiter's, Launcelot's and John Alden's romancing was^ not the danger of being discovered and punished by an irate husband or lover but that danger intensified by a secondary menace ; in their case, war. The simple triangle did not provide enough menace to make a gripping story. Nor does it today.
It might if the affairs of our modern Don Juans and Casanovas succeeded each other rapidly enough, and enough irate husbands were present, apprehensive and trailing. But in that event chances are their prowess would be enjoyed only by our politically-appointed shock absorbers.
One Casanova per movie, one husband betrayed and we repeat, that's not enough. To be successful with audiences of today there must be an added menace, a second or third line threat; gangsters, the law, a lurid past, or plenty of thou-shalt-not in the offing ; a hovering menace, poised to sweep, biding its time, waiting to shove the anything-may-happen or a possible punch-in-the-nose menace to one side and become definitely a something-serious-is-going-to-happen menace.
Elementals Intensify
Rare indeed is the movie romance that doesn't pack a triple threat, several passive menaces suddenly becoming active, an elemental menace or two paralleling or planted in the distance, intensifying the situational.
Drenching rainstorms, blasting winds, forest fires, precipitous mountain trails, impassable raging torrents, ice and icebergs, avalanches of earth and snow; the rumbling volcano spewing smoke and lava; trapping the hero or heroine, impeding rescue or escape, pursuit or capture, threatening life and limb.
The macabre menaces, bloodthirsty Dracula and the monster Frankenstein; the bats, snakes, gorillas, poisoned food, poisoned darts, poisonous gas, bulbous glass retorts bubbling poisonous fumes; high tension electrical discharges; secret panels, torture chambers, the spiked walls closing in on the hapless victim; trapdoors, chairs that enfold the unsuspecting in arms