Word: screens
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Dates: during 1940-1949
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Elmer is here again. In case you haven't been following Ring Lardner's epic of baseball's biggest swell-head. Elmer, whether on screen or stage, has for years and years been Joe E. Brown. For those interested in statistics, his mouth has stretched exactly one-eighth of an inch, which only makes his smile the more enticing and allows him to shovel down ham, doughnuts, milk and pie in an increasing ratio throughout the play. Between these two processes, Joe E. is as human, lovable and Laughable as ever...
...Grand Canyon and brings love to the lives of slim, handsome Ahmad (John Justin, now a pilot with the R. A. F.) and the buxom, slant-eyed Princess (June Duprez). The sinister forces are led by Conrad Veidt, who conjures up more dire magic and dirty treachery than the screen has seen since Dracula...
This conglomeration of fable, fantasy and monstrosity is British Producer Alexander Korda's biggest bid for the spectacle trade long ago relinquished by D. W. Griffith. Two million dollars and two years' tribulations were spent in his transposition of the Arabian Nights tales to the screen, during which the outbreak of war forced him to move production from his Denham studios near London to the United Artists lot in Hollywood at an added expense...
Angels Over Broadway (Columbia). In spite of the fabulous salary he draws as a screen writer (some $6,000 weekly) balding Ben Hecht spends many of his expensive words on acid comments about Hollywood moviemakers. Possibly as protest, he and his sidekick, Playwright Charles MacArthur, took four flings at independent movie production, scored one bull's-eye with The Scoundrel, eventually quit. This year, Columbia gave Hecht $260,000 worth of Hollywood backing with which he wrote, produced, directed Angels Over Broadway, another of his preoccupations with the regeneration of moral strays who have felt the cooling shadow...
...Earnest and honest in his work, he is a dissenter from the old director's trick of stamping films with a personal emblem like the Lubitsch "touch." The quick Kanin success has been based on the un-Hollywood device of taking the performers' personalities out of a screen play, centering the emphasis on the development of the author's characters...