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.
feverish quest for happiness and in a remote sense the fading ballet dancer in the discard, nursing a fragment of the fame that had once made her an international favorite, accentuated Kringelein's race with time.
The bogus baron trying to maintain the regal stride, the old bookkeeper's ex-employer trying to save his financial face, both had a certain mutual fate-closingthe-accounts quality in common with Kringelein's, but no one outside of the stenographer actually tied in with Kringelein to induce any amount of sympathy for him, and the stenographer linked arms with the old fellow at the last moment more as an ultimate compensation for all that life had denied him.
Those secondary pursuits occasionally crossed paths and brushed shoulders with Kringelein's but in the main they merely paralleled it, but always and definitely in character with it because the baron, the balletdancer and the industrialist as well as Kringelein were aging. All four were at grips with Time, the common enemy.
Now many readers may question all this bother and fuss over the appeal inherent in the many main pursuits we have reviewed, and the relentless business of enlarging and enhancing those pursuits with secondary pursuits of a kindred nature. And because so much of importance to movie appreciation hinges on the answer, let us put down three very good reasons for it, namely the criticality, restiveness and indifference of audiences.
According to psychologists, criticality, restiveness and indifference are supposed to be universal, seemingly originating in things that do not immediately and vitally concern the individual. However, "supposed to be" and "it seems to originate" do not hold much weight in judging the movies.
Every actor, director and writer of any experience knows that criticality, restiveness and indifference describes a condition that is very real in all audiences, three things that pace the selection, treatment and delivery of stage and screen material two to one to anything else that inspires acting, directing and writing.
Experience with audiences, gotten the hard way, by
60