Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

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Name Address City Stat Modern Screen coasted hazardously down ferocious hills, pursued by a large and excited crowd of men, women, children and dogs, to the mad galloping "Westerns" when the heroine's life depended on the fleetness of the hero's overtaking bronco ; ''chases," especially for purposes of rescue, must always rouse joy in the heart of a child. Physical action, the swifter the better, is the child's delight, and it seems to me that here is the unencroachable territory of the motion pictures, a territory where neither the stage nor the radio can compete at all. Only the movies can show us action over limitlessly wide areas of country ; and if the movies, carried away by the discovery that they can "talk," try to contract themselves into "plays" that depend for their success more upon dialogue than upon scenery and action widespread among that scenery, then the children will surely and perhaps wisely lose interest. T T also goes without saying, I think, that children are immensely interested in motion pictures about children ; few of us are averse to hearing about ourselves. But here the child is all "realist" ; he is not pleased if the portrayed children are not natural, if they behave as he instinctively knows he himself wouldn't. In books he may be able to swallow and even like the ubiquitous and superb "boy-hero" ; but on the screen he asks to see real boys and girls behaving plausibly and getting in and out of such scrapes and adventures as might befall himself. And given a chance to laugh at a comedy of childhood, how uproariously he will laugh ! Children are more interested in the past than we are likely to suppose. All children like to hear about "when father was a little boy," and other times, other customs, fascinate them, especially if they are able to imagine themselves "living then." I have always felt that _ there was enormous opportunity for the motion pictures in an effective use of the historical novel ; historical dramas would certainly dispose parents to send their children to the movies. More, by recreating various aspects of the past, the movies might regain some of the pictorial splendor that was once their charm and that I hear is now but occasional. However, I have left for the conclusion of my letter what I really suspect to be the trouble — the chief reason why children need to be "brought back" to enchantment. I believe it is love that is keeping the nation's children out of the nation's picture theatres. Too much love ! There was a certain lavish amount of love in the silent pictures ; but I understand there is more nowadays. Even adults are not able to look at an extremely great quantity of love without some slight nausea; but evidently they can hear a great deal of love talked about without undergoing such symptoms of distress. Children most emphatically do not enjoy either watching love or hearing love discussed ; it wearies them. Physical action interests them; physical love does not. Nor do the children care whether such love be proper or improper ; they don't much like it whatever it is. But they will put up with a little of it, out of courtesy to their foolish elders, provided that "something real goes on" during the rest of the picture. With best wishes, Mr. Heyn, to you and to your magazine, and the hope that this letter may help in some way toward recapturing for the children their lost rapture in the movies. Faithfully yours, Booth Tarkington. Speed ! (Continued from page 31) just politics. Don't feel bad," his friends said. Lee grinned, snapped his fingers, jammed his battered grey hat over one eye. "Mrs. Tracy's boy Lee never feels bad." Whizz! A fast plane. Roaring back to New York again. One week to settle a lawsuit pending there. Whizz ! Another plane. Hollywood again. And back to work the first day in town, for another studio, in "Night Mayor." This time, not a reporter. Nope. In "Night Mayor" Mrs. Tracy's little boy impersonates no one less than Mrs. Walker's little boy, James, of New York City, another gent who talks fast. A SOUTHERN boy brought up in the North, Lee is one hundred and forty pounds of crackling energy. He buys his pajamas in halves, wishes he could be a football player and a writer, loves roller-coasters, plays atrocious ditties on a tuneless harmonica, does card tricks, falls off horses, hates laws and perfume, would like to go without shoes, scares his hostesses by sliding down balustrades whooping and yelling, forgets to eat for days on end, will walk miles to see a Punch and Judy show, doesn't want to be a star, never knows the date, can't swim, prefers night to day, and is a practical joker on such a grand scale that he will undoubtedly end up in the penitentiary. He isn't married and he isn't going to be. "The only woman I'd ever marry would have to have a lot of brains," he says. "And if a woman had brains she wouldn't marry me." That disposes of the question in precisely two sentences. When he arrived in Hollywood the studio said, "Be ready for work tomorrow morning with a complete wardrobe." Lee's wardrobe consisted of the clothes on his back. His trunks were coming by train, and he had forgotten to bring anything with him in the car