A hundred million movie-goers must be right... (1938)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

be able to live comfortably on the income from income, but those references were so infrequent they counted for very little in enhancing and enlarging the business and social careers. But those careers needed no oral build-up. The camera did the job with an eloquence that was unmistakable. In fact, dialog was wholly inadequate in picturing that reverence forcefully enough to make it a real contender for the hero's future, or Holiday a close contest. Despite the appeal inherent in the desire to live, in time off from what they were doing day in and day out, in a honeymoon abroad, and the extent to which dialog made audience and players one in the furtherance of those pursuits, and despite the relative nonappeal in the business and social careers, the camera made appeal in those careers so effectual the hero finally capitulated, decided to try business for a while. In all plays, screen and stage, there is an element of competition. In great movies that element is strong, active, compelling. In The Three Smart Girls the three lovely daughters were competing with the siren and her mother for the affections of their daddy. In The Late Christopher Bean the maid and the old doctor were competing for possession of the valuable paintings. In The Sin of Madelon Claudet the mother and those opposing her were competing to secure and protect her boy's future. In The Champ, the ex-champ, long out of training, bravely tried a comeback, not alone to win the love and respect of his young son, but he wanted to give the boy more of the good things of life than the boy's wealthy mother, the ex-champ's ex-wife, was offering. She was trying to lure him away from the environment in which his father lived, a Mexican gambling resort. In a major sense the main pursuits in The Champ were identical, although opposing; both mother and father trying to assert a guardianship they thought best for their son's future. Working toward the same end, appeal inherent in the Champ's and his ex-wife's pursuit was the same, indicating an evenly matched contest. And that's the way The Champ started off, odds even. But the moment furtherance began the odds shifted. 170