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.
pathy was proportionately increased or kept alive.
In like manner we have just discovered elements of appeal and non-appeal in stars equally as basic, elements the reader should scan for in star personalities as closely as he did appeal inherent in main pursuits. Along with that scanning he should determine flexibility and suitability of a star as a thing entirely separate from his role or pursuit if he would be sure that the stir is enhancing the role, adding to its singularity, or singularity of locale.
As for this business of harnessing our yens and aversions regarding stars we need only be mindful of the fact that any actor who qualifies star rating or billing over the title of a movie draws several millions of people to the theatre on personal appeal alone, whether we like him or not. If he can't he doesn't star for long.
Although wre may not be able to "see" him, there are so many who can that it makes little difference whether we do or not. Therefore, it is to our advantage not only to understand why but to accept star appeal as well-founded. For example:
Whether Diamond Lil, in She Done Him Wrong, wanted her men with or without benefit of clergy did not matter. The audience did not dislike that type of woman. Nor is it for that type. It neither approves nor disapproves of types unless they are repulsive or offensive to the eye. At first sight audience reaction to types is entirely a thing of curiosity or speculation.
Therefore, when Diamond Lil stepped onto the screen, Mae West was no more and no less "on trial" than any other actress, but she was on trial ; and the audience was willing and eager to render a favorable verdict if she merited it. She did.
When Mae West put her signature to the final draft of She Done Him Wrong, she okayed a great script. In preparing that stage play for the screen she was profoundly impressed with the neccessity of compelling sympathy for a potentially non-sympathetic role. But for one reason or another that impression did not last.
In a picture Mae West produced subsequently she went on the make for a guileless small town automechanic (if Randolph Scott can look or act guileless)
111