Word: cinemas
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Dates: during 1930-1939
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...advance, jars a mechanical piano into action, dies to a ragtime tune. But best of all is the smoldering, velvet-voiced, wanton-mouthed femme fatale of Algiers, black-haired, hazel-eyed Viennese Actress Hedy Kiesler (Hollywood name: Hedy Lamarr). Her coming may well presage a renewal of the sultry cinema of Garbo and Dietrich. Hedy has been chiefly famous for her appearance, nude, in the Czechoslovakian film Extase, produced in 1933 by young Director Gustav Machaty as "a sermon in eugenics," exploited wherever U. S. cinema censors permitted, a picture which had one exquisitely played, if adulterous, moment of passion...
Thereafter, for seven months in Hollywood she did no cinema work, living first with Hungarian Ilona Massey, then in a simple, six-room bungalow in Beverly Hills, polishing her English, training her speaking voice, observing Hollywood ways. She swam, batted tennis balls, expertly-played her piano, stole the show at a few beauty-ridden Hollywood parties, to which she was squired at times by Rudy Vallee, Howard Hughes and lately by Actor Reginald Gardiner. When last April Producer Wanger borrowed her from M.G.M. for Algiers, it was discovered that she would require padding to fill out her bust -a deficiency...
...sympathetically over the bitterness of a boy whose father has been convicted of murder for killing a man while helping a picket line repulse an assault by strikebreakers. But hopelessly quartered and drawn by the tugging of four wayward plot trends, it is less notable as a contribution to cinema than it is for expressing a viewpoint cinema has seldom before ventured-that there is something wrong about strikebreaking...
Cowboy from Brooklyn (Warner Bros.) plots with hypnotism and not a little good fun the course of a crooner (Dick Powell) for whom a bright future beckons in cinema horse opera if only he can learn to love horses...
When stereoscopic or three-dimensional motion pictures are shown, a missile flying in the projector's direction makes spectators dodge in their seats. Despite this powerful illusion, Hollywood has shown no enthusiasm for three-dimensional pictures. Some time ago it occurred to an inventive cinema cameraman named Joseph Valentine that something simpler might be tried, a suggestion of roundness and solidity although not an actual third dimension -something that would make characters on the screen less flat than animated pancakes. He looked for a simple way to achieve this effect, last week announced to the press that...