Silver Screen (Feb-Oct 1935)

Page scan 000630 from Silver Screen

Record Details:

Title:
Silver Screen
Date:
Feb-Oct 1935
Publisher:
[New York, N.Y. : Screenland Magazine]
Volume:
Silver Screen (Feb-Oct 1935)
Leaf #:
000630
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals","Celebrities -- United States -- Periodicals","Motion picture actors and actresses -- United States -- Periodicals","Television actors and actresses -- United States -- Periodicals","Entertainers -- United States -- Periodicals
Collection:
Fan Magazines and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Date Added:
August 22, 2024
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Sweet Surrender! The Hero Makes The Love Scene, The Heroine Can Only Hope. MANY pictures have won fame for the delicacy and emotional quality of the sequences in which the lovers cling and kiss. Hollywood knows that good love scenes depend upon the hero. The heroine, beautiful and demure, may register surrender, even swooning a bit toward abandon, but that is all. It is upon the conquering male that the responsibility falls to make the scenes intense, to show sincerity— gentle, to show the tenderness of his love; and passionate enough, to justify his masculinity. The men of Hollywood may have menace, understanding and technique, but their fame will rest upon those scenes wherein they held a girl in their arms and spoke of love. oan Blondell and loss Alexander egistering joy for We're In Th In "China Seas," Clark Gable and Jean Harlow carry on an old Chinese custom. When Lupe Velez was in England she made "The Morals of Marcus," in which she surrenders to Ian Hunter. Brian Aherne and Joan Crawford in "I Live My Life." Pat O'Brien holds fast to Olivia de Haviland in "The Irish In Us." She's "going to be a big star.