The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1933-10-17
FLASHES ana
CLOSE-UPS
By LENS

OF ke OF us nuuDer
of ruiz, ~ y Three
Little Pigs" revived IN Invv-- Loew
Theatres-News ItemS).
Fadeout Carlo, Pickford, Gaynor!
Three little pigs have captured the
heart of America!
Three little pigs in color, song and
soundl
No more Frankenstein! No more
Dracula!
Hail Americas new srper-Villain!.
A big bad wolf! A big bad wolf! A
terribly bad wolf, in fact
OF course, we're not at all afraid
of this big bad wolf
We've licked worse menaces to our
institutions since '76!
We're not afraid Bring him on!
1t is getting colder every day now;
Breadlines are beginning to form be-
low Fourteenth ST.;
A brand new Rooseveltown has arisen
on a garbage dump at the foot Of
West Twelfth ST.;
1t looks like the same old deal and
worse.
(There's a solution Mr.. BabSon!
There's a way out Mr.. Roosevelt!
Listen JohnsonD
GIVE THEM THREE LITTLE PIGS
AND A BIG BAD WOLF! AND
A BIG BAD WOLF!
The little pigs are not afraid
They're brave little pigs in color,
song and sound!
No red-bIooded American is afraid Of
big bad wolf, is he?
In the dreadful Chicago slaughter
houses so masterfully described by
Ccmrade Mike Gold in a recent
column, they are killing thousands of
little pigs every day, and the big bad
wolves who kill them dump them
somewhere like they often do coffee
or cotton, and the hungry workers
in the breadlines below Fourteenth
st. get no ham, no bacon, no lard,
and the homeless workers in Roose-
veltown go hungry.
Remember this when you see
"Three Little Pigs"-or when you see
it again, 1 should say.
WE MUST HUNT DOWN THE
BIG BAD WOLF! (Let's look in Wall
Street and washington and Holly
wood. There may be many big bad
wolves.) GET YOUR SHOTGUNS,
PITCHFORKS AND KNIVESl THE
LITTLE PIGS MUST BE SAVED!
Dear Lens: I saw Patriots" last
night and certainly agree with your
recent review in the Daily" 1t GER
tainly is one of the most remark
able films of all time.
No incident that can recall hav-
ing seen on the screen has ever
moved me so much as the short
sequence on the determination of the
Russian and German soldiers on the
battlefield. One understood at once
that these courageous war-ridden
soldiers in making their magnificent
attempt to fraternize across the terri
flying stretch of "no-man's land"
were expressing the deepest inter
ests Of the working class against
war. At first you feel the dread I'M
certainty of the ground, as the I'M
armed soldiers bearing the truce flag
walked slowly toward the German
lines expecting at every moment to
see them blown to pieces by a shell,
but suddenly a helmeted but also
unarmed soldier appears from the
German lines and you begin to re-
alize that this is as certain and as
necessary as the revolution that is to.
follow. They clasp hands like long
lost friends and the Russian motions
to his breathless comrades to come
down-and they fly down from all
sides, Germans and Russians singing
and shouting, welcoming one another
as comrades.
Out of the thousands Of films I
have seen, I would pick this single
brief beautiful moment to illustrate
the unique and tremendous power OF
the Soviet film. And just one thing
more, Comrade Lens. The Russian
village of the shoemakers. When I
was kid my father, also a shoe
maker, used to describe to me the
life OF these villagers and what he
said and what Patriots" reveals are
the same. The old dingy houses at
night with dim burning oil lamps.
the dust-coVered crockery and old
shoe-shacks. The inn, the poverty,
the patriots, the old crunibling roads
moved me as though I had actually
lived there.
How much more could go on to
say about that masterpiece by Bar
net, '"The Patriotsl"
ERNEST TELSIN.
New York, N. Y.