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Censor Wilkinson has had his troubles with the March of Time from its inception. Overruling the March of Time's claim that, as journalism in celluloid, it must be as free to handle controversial news as the Press, Watchdog Wilkinson has on various occasions removed from the British March of Time shots of German Nazis persecuting Jews, members of the French People's Front demonstrating against the Fascist Croix...

Author: /time Magazine | Title: Press: Celluloid Censorship | 6/1/1936 | See Source »

Jesse L. Lasky and Mary Pickford paid some $400,000 to cast this gossamer in celluloid as their first offering for United Artists release. They ornamented it with an assortment of expensive bit players with lavish sets, with mild satiric sorties on Law, Censorship, the Press, the Family...

Author: /time Magazine | Title: Cinema: The New Pictures: May 4, 1936 | 5/4/1936 | See Source »

...sounding recommendations, "Fellow the Fleet" is topid at best. The producers had every reason to expect that a conglomeration of the above elements would find success easy and inevitable, but there is obviously lacking the spark of inspiration, indispensable to what is really good, even in the medium of celluloid. "Follow the Fleet" is the well-timed appearance of a cut-and-dried application of a tested formula...

Author: By E. W. R., | Title: The Moviegoer | 2/24/1936 | See Source »

Those who find the student's life a prosaic tedium will be particularly glad to know that at least in celluloid whimsy universities are still being run on rhythm, and Joe College is still at large. "Freshman Love" is the latest exposition of the rollicking, carefree, hilarious whirl that is the lot of the American scholar. Granted that the healthy reaction toward that title is a groan. No attempt will be made here to induce anyone to look at this picture, but the thing is not quite so bad as the foregoing classification implies...

Author: NO WRITER ATTRIBUTED | Title: PARAMOUNT & FENWAY | 2/14/1936 | See Source »

Anything Goes (Paramount). Actually, a lot of people beside Cole Porter had a hand in this screen version of last year's No. 1 Broadway musicomedy, but somehow it all adds up to a Cole Porter lyric cast in celluloid, with involved metaphors and polysyllabic rhymes translated into comedy antics and plot convolutions, and set to impudent, lighthearted music. Some of it is music worn thin by 1935's dancing slippers, but some good new ones have been added: Sailor Beware, Moonburn, My Heart...

Author: /time Magazine | Title: Cinema: The New Pictures: Feb. 3, 1936 | 2/3/1936 | See Source »

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