Screenland (July–Dec 1947)

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Book is sent postpaid, in plain wrapperonly FAANKLIN HOUSE, Publishers 629 Drexe! Bldg PhtTa., Pa. Dept. 18-H 25c HOME IN JEOPARDY? #1.00 Today's movies, except for a few outstanding ones, show a greatly distorted view of the way life really is for most of us, and for that reason alone their influence is far from being as wholesome and helpful as it should be. Too many productions today seem to cater to human emotions that degrade instead of those that uplift, and these movies are particularly harmful to young people whose minds are in the pliable and molding stage and who haven't yet acquired the knowledge and experience needed to distinguish the difference between emotional shifting sands and solid rocks. Perhaps we older movie fans are largely to blame for the kind of pictures we have today. Movie-makers have learned from the only source that they listen to — the box office — that they can't present commonplace, ordinary lives and problems. These don't appeal to us as so many of us live such lives, and when producers make them into movies, we are bored. We want something more spectacular — something that is entirely different. Few really believe that the average American home is the way so many presentday movies show it — made up of loosemoraled, drinking, money-grabbing, divorcecrazy people. Such pictures, discounting honest love of married people, home, and country, are distorting and degrading, and certainly don't present the kind of homes that founded this great country and made us the nation we are today. We can't afford to allow the movies — even the fine entertainment they can be — to endanger the moral standards of our society's security, by permitting producers to flood our theaters with low-grade, unwholesome motion pictures. R:. W. CARR, Parkersburg, W. Va. DIALOGUE DEARTH #1.00 An amusing article on Nunnally Johnson which appeared in a national weekly magazine a few months back brought out the fact that Mr. Johnson believes most pictures are so stereotyped that from a few lines of dialogue the entire plot can be instantly recognized. The article then went on to quote a few examples chosen by Mr. Johnson to back up his contention. Since reading this piece, I have been seeing quite a few of the current movies, and I now know exactly what he means. As a matter of fact, I have compiled a few specimens of my own. For example : "Don't worry, we'll get the money somehow— we've got to ! The show must open in Philadelphia tomorrow night!" "Lydia, Lydia, you silly child ! Don't you realize I am old enough to be your father — that we can't continue like this?" "Poor darling, I am older than you in many ways, so let's not discuss it any further." "Why, you dirty, yellow rat, I oughta turn you over to the D. A., but that would be too easy. I have a better plan." . "You want me to forgive you — but what is there to forgive? It is I who should be asking your forgiveness. I've been a blind fool." "Everything has been squared with the police, NoVa has forgiven you — she should be here any minute! Now get out there and sing your fool head off, the audience is waiting." And finally there are these familiar old lines, dear to the hearts of the dialogue writers : "This thing is bigger than you or me, Deborah. It's bigger than both of us." How trite can you get? LAWRENCE LYBARGER, New Canaan, Conn. SHEAR DEVOTION #1.00 I want to echo the thought of R. Lambkin, presented recently in Fans' Forum, about 1947 coiffures in pictures of the Twenties. I felt swindled after seeing "Margie," for though I wasn't born then, I have many family pictures of my young aunts and older sisters. Some had bangs like Colleen Moore, and smooth, shingled hair; many had regular boy cuts (how I have envied them) and they were so pretty and distinctive. If only one young star, like Lizabeth Scott or Audrey Totter or Gene Tierney or Nancy Guild or Lauren Bacall or Donna Reed, would start it, a lot of us would quickly follow suit. Please, Hollywood, release us from the social compunctions and compulsions of "long" styles in hair ! The natural look of shingles, straight bangs, and ears worn out in the open, all put together, would be very refreshing. I would especially like to see Ella Raines among the starters of that style — if she would, I'd snip in "shear" devotion. DOROTHY KUSSEL, Chicago, 111. ALL OUT FOR ALLYSON #1.00 After seeing June Allyson in such a picture as "The Secret Heart," I wonder why MGM doesn't give her better roles? She is a favorite among the American public. Her stint in "Till the Clouds Roll By" was one of the highlights of the film. Let's have her in more pictures in which she can act and more of her in better musicals like "Two Girls and a Sailor." EDWARD STAATS, Chicago, 111. GLAMOR DRAMA FOR HUTTON #1.00 I have yet to see one of Betty Hutton's pictures that didn't show her knocking herself out to be funny. I know she has talent, but her pictures do not show her talent for real dramatic acting. Why not have at least one picture that will give her a chance to win an Oscar? I hope the movie industry will give Betty a chance to show her beauty, too. I've seen a few glamor pictures of her and, believe me, she really has the beauty there to bring out. Please do something about that beauty, for beauty's sake. FRANCES SALYERS, Aberdeen, Md. TRITE TALES #1.00 The other evening I saw the film, "Carnegie Hall." In the two and a quarter hours the film runs, some of the finest music is expertly interpreted by really great artists. Why, in a film of this musical magnificence, must they inject one of the dullest stories just filled with cliches? A story of this type would have made a finemusical on the order of "Ziegfeld Follies." Surely the history of Carnegie Hall has more of interest than this dull tale suggests. However, if the producers couldn't find anything more exciting, then they should have omitted the story. GERALDINE SHAY, New York, N. Y. 78 S GREENLAND