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

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At no time did producers, writers and directors in guiding the destinies of Godfrey, Deeds, Theodora, Johnny Case, the mothers and fathers in Over the Hill Street Scene, Holiday and The Three Smart Girls pander to any of the venerable pretenses or hypocricies, either in or out of the premises. There was no striving to be neutral or unbiased: no particular emphasis on man's inhumanity to man, nor upon that more unpopular fact of mani's inhumanity to himself. Yet man's ineffectually, man's higher purposes and the problems of leadership were at times starkly cross-sectioned, were clearly etched for those honestly interested in honesty in entertainment. Nor clan nor creed were affronted. Those movies aroused nobody's ire nor drew anybody's fire. There were no noble gestures, no idealizations, no noble sacrifices, no half-truths caricatured, no striving for the sensational, no obvious build-up for smashing climaxes, no patent intensifies, no noticeable amount of bathos or oathos. Yet sympathy, suspense and believability built with the stride of a war threat. We wonder now as we look back if it is unreasonable to believe that fn disregarding so many things always thoneht taboo or essential to movie production those great movies haven't given us a long sought key to honesty in entertainment, haven't pointed a way to a higher purpose for the screen? The End /aiDiencE.RBOTori REEL J 2 3 FEET '„. $ymjx?£/p /Suspense Be/ieyabihty