Word: camera
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Dates: during 1930-1939
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...betting and admissions-$50,000 more than last year. Crowds swarmed to Henry L. Doherty's Miami-Biltmore horseshow at Tropical Park to see an Army jumping team from Fort Riley beat Forts Myer, Sill, Benning, McPherson and Oglethorpe. In a Miami store window a pair of Primo Camera's giant clodhoppers stood filled with pennies-offering a pair of free tickets to this week's Camera-Tommy Loughran championship fight to whoever guessed most accurately their contents...
Last week's decision made it look as if Madison Square Garden, whose Miami bout between Loughran and Champion Camera was postponed until Feb. 28, had temporarily ceased to be an important promoter of fights. It also indicated that Schmeling had finished his career as a first-rate fighter; that young Hamas, who took up boxing four years ago to help pay his brother's doctors, was a possible opponent for ebullient Maxie Baer next summer...
What, if anything, happens after that the audience was hard put to understand. In Act I, labeled "Avila: Saint Therese half indoors and half out of doors," Saint Therese holds the stage, permits herself to be photographed with an old-fashioned camera covered with black cloth. Other saints bombard her with questions. Finally when the chorus solemnly asks her: "If it were possible to kill 5,000 Chinamen by pressing a button would it be done?" an end man replies for her: "Saint Therese not interested...
...equipped with an expressive set of gestures, her voice remains the weakest part of her repertoire of talents. Consequently she suffers from the inertia of motion picture directors who go the path of least resistance, rely largely on dialogue and consistently fail to develop the vast scope of the camera. The result is a decline in pictorial beauty, dramatic sweep, and imaginative appeal. "Carolina" is more of a step towards pictorial technique than most of the shows today but the undeveloped possibilities of changing scene, mass action, and human emotion undisturbed by nasal utterances are still great...
Miriam Hopkins is one of the few cinemactresses who can face a camera and, without speaking or scratching her nose, convey the impression that her head is full of thoughts. Consequently, scenes in All of Me which show her as an attentive audience to the curt love making of Raft and his mistress are more effective than they should be. The picture is a pee-wee parable, strident, quick and insincere. Grisly shot: Raft's jump...