Word: photoplay
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Dates: during 1940-1949
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...locale of his former triumph, this time as a member of the Cortez expedition. But Tyrone has been shortchanged; Twentieth Century Fox, though providing violent color contrasts, strident blaring music, and earthy young Jean Peters, has neglected to furnish a blood and thunder plot. Of course, there is a photoplay, something about Cortez and the Inquisition and the trials of chivalry; but in the category that counts, the number of varlets pinioned per reel, it falls woofully short. Power himself suffers more than all his adversaries combined, culminating with a grievous wound in the left shouder...
...successful minority-stockholder revolt against his old boss, O.J. (as his employes respectfully call him) has been president of the Macfadden-less Macfadden Publications, content to hide anonymously behind the circulation-catching Macfadden name. Last week Elder launched a slick addition to his string of eight magazines (True Story, Photoplay, etc.). He had designed it for the most determinedly vicarious thrill-sharers of all: American sport fans...
...Physical Culture is edited by unobtrusive, 36-year-old Ernest V. Heyn, crack movie-magazine editor (Modern Screen, et al.), who went to Macfadden's Photoplay in 1937, last year merged it with Movie Mirror to make it top movie magazine (circ. : 800,000). It stresses health as the foundation of female beauty. With a print order of 275,000, alleged newsstand returns of the new Physical Culture indicated sales double those of the old muscle magazine...
...Hollywood reporters he moaned more. He mentioned sadly an occasion a few weeks back when he was prevented from quoting a piece in Photoplay in which one "Fearless" complained that Myrna Loy had "stenographer's spread," Gary Cooper and James Stewart spindle legs. Fidler also pointed out that one of his aerial "editorials" against war propaganda in the films had been squelched...
...ninth inning. That it failed to clear the bases is as much the fault of its advance rooters as it is of the film. Director Ford filled it with respectful piety for the hard impersonality of the sea. In doing so he built 103 minutes of photoplay around a simple character study of the S.S. Glencairn, a slow tramp steamer bound from the West Indies to Britain with a cargo of munitions. During most of the voyage, slight, sensitive Photographer Gregg Toland's camera is turned on the seamen who inhabit the forecastle-a burly, brawling Irishman (Thomas Mitchell...