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22 PLAN FOR CINEMA
out5 itself, an exhilaration at getting away from the humdrumness of home routine and 'family' malaise. The roots of this purely objective excitement go much deeper probably, the origin being religious with the idea of festival predominant. But the middle class was not in the habit of ' popping in.5 It took an inducement, additional to 'the pictures5 themselves, to bring off any response on a large scale. The picture-palace must not be merely a hall or theatre for showing films; it must become a rendezvous, the churchyard on Sunday morning, a place where people can meet and gossip; but unlike the churchyard, provided with thick pile carpets into which bourgeois corns can sink, afternoon tea, and ice-cream soda fountains and lounges and dancing upstairs to jazz music, a sort of Venusbergian club. Thus grew the super-picture-palace and the super-film with it. For the showman's bell was very loud, and the middle class started to come; and the proletariat came in their greater hordes, for compared to the hideousness of the hovels in which they live this sort of palace is not merely a palace but a veritable Taj Mahal. Millionaires appeared on the cinematic horizon. It was a peak period for second-rate musicians. Orchestras of thirty to forty players were employed to accompany the films with a dulcifying aural tickle.
Parallel with this growth, there had been going on another cultivation of phenomenal subtlety. The greater proportion of cinema audiences are composed of women; statistics show this to be an undeniable