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E-UP
Editorial Expression and Timely Commenl
HOW'' about fire protection in )/<mr moving picture theatre ?
What is the construction of the projection booth.7 How about the exits? Do audiences habitually crowd the auditorium ? Are your ushers trained and alert, or half-wits ? What would you do in case of panic ? This is not a catechism. This is reminding you that man keeps on living only by eternal vigilance. Holocausts are forgotten as quickly as defeated candidates. You are much more in danger of a film-flame disaster in a small town than in a city, for in big communities the fire department pursues the photoplay impressario more relentlessly than the old-fashioned housewife pursues dirt. Sometimes things slide in the village. Probably the Collingwood school horror could not have happened in Chicago, or Philadelphia, or Kansas City.
Not long ago the writer sat in Chicago's Strand theatre, not far from the projection booth. Suddenly the film broke, and before the operator could remove the curled fragment from the danger zone it was in flames — the whole reel was a seething geyser of fire. Automatically, the little iron shutters in front of the lens fell with clicks scarcely audible. As the operator leaped to safety, the door closed behind him — automatically. In a minute the fire had died of sheer exasperation, and not ten persons in the audience realized that anything had happened save an annoying stoppage of the play ! Would things "work" so perfectly in your theatre ?
If they would not, don't you think it is up to you to see about it ?
*«
The Sense
of Nonsense
motion pictures.
IN New York, recently, we proselyted for pictures at a Ritz-Carlton luncheon whose partakers included:
A world-famous critic;
A world-famous novelist;
One of the greatest living editors.
The reviewer, the story-teller and the editor reviled They attacked them as absolutely illogical, thoughtless in
form, inspirationless in execution, pabulum for afternoon sleepers, nursemaids and raw-kneed boys.
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