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SUBMARINE D.l-A film of
WHEN America created the commercial cinema she invented the biggest shop window in the world. Shop windows are of several kinds. There are those in which the vendor stuffs every conceivable article and hopes that out of this mass the customer will see what he wants. Another kind is that in which a hat is thrown with studied carelessness into a rarefied emptiness ; in this vacuum the passer-by sees what he wants to see. There is also an in-between kind, in which the imagination is allowed some play, but is led along by a reiterated theme. The windows of the latter type score most heavily : with them we associate certain products — leather, books, guns, food and even certain values. Some shops have all three. On the facade of the building is dignified inspiration. On the corners are the in-betweens, and round the corner in the side streets are the junk windows crammed with anything and everything.
The American cinema industry similarly divides its products. It has a noble front of Pasteurs, Dodsworths, Bounties, Zolas, Deeds — its Class "A" pictures. These are the industry's prestige windows. In its second flight of films, its 'B" pictures — Border Flight, And Sudden Death, Arizona Raiders, Boulder Dam, Ceiling Zero — the real products of America are dramatised. In its "C" pictures, made for the side streets, it puts its anything and everything.
Recently there arrived in this country a series of United States documentaries, representing a new departure in films for America, and following, for the greater part, the model of the British documentary films.
Above: Wayne Morris, Frank McHugh and George Brent
Right: Pat O ' Brien talks it over with Frank McHugh
On opposite page: A scene from one of the most realistic and exciting sequences
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