Sodom and Gomorrah : the story of Hollywood (1935)

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SODOM AND GOMORRAH 125 mother's teachings and consents to live with a motion picture executive. While sin has never heard of Shakespeare, Ibsen. Eugene O'Neill, Noel Coward, or any other dramatic author, classic or modern, she does have sense enough not to compromise her morals without adequate compensation. Her ambition ha^ ever been for the screen. She will risk the hell fires, providing the executive will establish her as an actress in his company. He, being infatuated with the pretty little blond who refuses to lose her virginity without first being given a role in pictures, accedes to her demands. A new star appears in the Hollywood constellation. The publicity office decides to use the glamour formula on Miss (iuldenbach. A fake Russian princess, financially embarrassed as only a fake Russian princess can be, for a consideration consents to become the aunt of the very German Mis* Guldenbach. But this paradox is eliminated by changing Miss Guldenbach's name to Anne Romensk, thus changing her nationality. The old story of the Russian Revolution is invoked, Anne and her aunt, the Princess Xenia being the only members of their aristocratic family to escape (This is not such a strange talc when one con siders that several fan magazines have created Elissa Landi a relative of the late Hapsburg emperor, Francis Joseph, as well as a relative of the royal Windsors.) Well, it is not hard to throw