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11. That was before I went into one (■our de luxe movie liouses and heard liymphony orchestra play Massenet, ;r which came a singularly beautiful lie film with quotations from Rupert ,‘oke and finally a drama wdth no little igination.
But most of all I have found that !en jiroducers are afraid to do any;'.g new. They have developed a set es of things to portray a set series of •tions and they put every story thru identical mill. For instance, there is I chase, with its many variations, as a 'ns of attaining suspen.se. fit isn't that screen producers lack gination. They frequently reveal i.iant flashes of it. Buf they are \id to carry their imagination to its cal conclusion. They wander back the groove of set situations, being somehow that audiences demand and can understand nothing else.
1 recall one vivid instance of this, icture called ‘The Cruise of the Makeleve.’ That little make-shift ship of irds, boxes 1 barrels in < sordid tene£t backyard ^ a blinding 1)1 of imagi( )n, but the i: e c 1 0 r ^ o r 3 it the sceip writer ? —
Md himself ^y from it t; fearsome I lity. I heard IC'le around ", sa y they 1 1 1 d like to '"'Ht in lied on ’jage 77)
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Top, Another view of Mr. W a 1 k c r ’,s -stage setting for “The Book of Job,” with Margaret Mower and Elizabeth Patterson a t the right and left as Narrators and Mr. Gaul (center) as Job talking with the three men from Uz.
Right, Mr. Walker’s presentation of Lord IJ u n s a n y ' s “The Laughter of the Gods,” with McKay Morris as the king a n d Margaret Mower as the queen