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.
that had stirred up so much indignation was quickly revealed ; also the reason for the cover artist's sudden unexplained departure for the city when Theodora publicly declared her love for him. Later, the audience was momentarily puzzled as to just how Theodora would combat his family's fear of scandal in the pending divorce action, but that puzzlement was quickly dissipated when in one time-fade Theodora metamorphosed from a properly inhibited maiden lady into a bold and brazen publicity-grabber.
Upon going contrary to the wishes of the artist and his family, the same frigid aloofness that frowned clown on the Redheaded Woman checkmated Theodora, holding the audience in a high state of uncertainty regarding the outcome of her campaign for romance, and the more inflexible the family's disapprobation the more uncertainty gripped.
Opposition to Theodora developed terrific proportions, thwarting her so effectively that she was forced, finally, to carry the battle for love right into the enemy's camp. Thus a consistently passive fear of scandal and a vibrantly active furtherance of romance, at a furious pace, heightened suspense.
42nd Street introduced a suspense factor that may seem different than anything we have so far reviewed, that of non-cooperation, which however, occurs in a category with apathy or indifference the passive force that provoked so much sympathy for the mother in Over the Hill, Madelon Claudet and the Lady in the Big House.
When non-cooperation in 42nd Street became a serious problem the stage director stopped it very abruptly by knocking the cause — his leading lady's boy friend — cold. She had been neglecting the show's backer because of boy friend's jealousy and consequently delaying production. But socking the boy friend was more or less climactic. It was the ever-towering importance of production and an increasing need for speed as curtain time neared, or an extremely active furtherance of production, and an apathetic or passive hindrance, that built suspense.
The silent version of The Miracle Man did not begin to exercise a grip of any intensity until the pickpockets began to lose interest in their profession. Having
70