We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
if he would deed the child over to them. The Champ refused and in refusing was suddenly awakened to the effect his environment might have on the boy's future. It was only through that awakening, the emphasis on an evil influence that brought on any lively consciousness of evil, that non-appeal however, not so much inherent as provoked. Thus The Champ became another "deplorable circumstance'' movie because no one could dislike the mother for wanting to remove her son from the gambling resort. For the father there was only pity.
A few critics maintained that The Late Christopher Bean was a one-sympathetic pursuit play, pointing to the doctor's grasping wife and daughter and the greed in the old doctor's nature as the evil producing a strong non-sympathetic reaction, a reasoning that does not stand analysis.
Too many millions of women had too much in common with the doctor's wife and too many millions of wives as needy as the old doctor's, and too many millions who were neither pro-wife nor pro-mother, prohusband nor pro-father who had at some time or other found themselves within imagination distance of easy money, of winning a twenty five dollar church-social prize, a scholarship, a bonus, a sweepstake, a long shot in the third race, a cigarette contest for several thousand dollars, a Bank Night drawing for five hundred dollars, or perhaps a senile and palsied relative worth a lot of money and no direct heirs. There then was the force that eliminated the villain in Christopher Bean ; the thing that rooted for the doctor and his wife to go after the fortune contained in those suddenly valuable paintings held by their maid.
At the same time the audience knew that the doctor had given the paintings to the maid without realizing their value, wasn't sure that she was entitled to them. Yet they saw no villainy in the maid because she held onto them. It was obvious that she had loved deeply the lad who had painted the pictures — love for one who has passed on producing a finer sympathy than the love of anything present or living — all of which helped to give both main pursuits in Chris Bean tremendous reach.
In 42nd Street we find another play that contained
41