The screen writer (June 1945-May 1946)

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w her with a kiss. Little Red Riding Hood is swallowed by Winter, the big bad wolf. The dashing hunter, Spring, rescues her. In Snow White and the Seven Dwarfs, the bad stepmother, Winter, poisons her with an apple, and again the young prince, Spring, brings her back to life. Much fright and horror is buried in these age-old tales; the fear of the dead, of hunger and of cold. But there is also a hope that the sun will eventually shine again to dispel the ice and snow and bring warmth and life back to the suffering people. Horror pictures are built on stories which appeal to the subconscious. When, to quote the manager of a big theatre, "people line up around the block and the house is full of escapists," you will know they are just reacting to primary instincts of fear and pity — emotions as vivid as love and hatred. Almost every melodrama contains scenes of horror, though the A-Plus producer would never accept that term for his million-dollar creation. When horror enters the gilded gate of top production it is glorified as a "psychological thriller." But a rose by any other name . . .