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What Shocked the Censors C
inate dialogue in connection:
"Fourteen — thirty-seven — repeated — nine — six — tivelve." Eliminate view of Banting opening safe and removing documents.
CONQUERORS NOVEMBER, 1932
REEL 2. — In hold-up on boat eliminate close views of robbers holding up Roger at point of gun (4), excepting flashes to sustain action.
Eliminate accompanying dialogue: "Hands up." "Hands up, my boy." In hold up of saloon, eliminate all close views of guns held on patrons, and view of robber actually taking money from cash box (5).
REEL 3. — Reduce to flash, view of robber forcing man to give up money at point of gun.
Eliminate distinct view of man actually taking money from cash box during hold up of Mrs. Blake.
REEL 4. — Eliminate all views of bandits hanging (2).
REEL 7. — Eliminate view of Frances' body convulsed with labor pains.
CONTRABANDO NOVEMBER, 1932
REEL 2. — Shorten first two kissing scenes of couple at table to four feet each. (These scenes are 32 feet and 21 feet respectively.)
REEL 7. — Eliminate scene of (Revolutionist) Hermandez deliberately firing at and killing soldier.
Eliminate scenes of Hermandez picking up bodies of dead comrades and placing them in doorway as breastwork.
COUNTY FAIR APRIL, 1932
REEL 4. — Eliminate view of crook putting money into pocket of Diamond (this money taken from murdered jockey) and accompanying dialogue:
"Did you have any trouble?"
"I never have any trouble."
REEL 6. — Eliminate distinct views of men on running board of car with guns held on Jerry (4).
COWBOY COUNSELLOR DECEMBER, 1932
REEL 5. — Eliminate "Just drop your wallets to the ground." "I'll take that ivatch, driver. Yours too, guard.'' (In hold up)
CREEPING SHADOWS JUNE, 1932
REEL 1. — Eliminate close view of gun in man's hand and eliminate view of him deliberately shooting Joe.
REEL 3. — Eliminate view of man deliberately cutting telephone wires.
CROWD ROARS MARCH, 1932
REEL 6.— Eliminate indecen' action of Joe's lips while driving in race.
CRUSADER OCTOBER, 1932
REEL 1. — "Eddie Crane talkin'. Give me Henly's office."
"This girl — painted as a murderess — harlot — met death with a smile."
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