, 1935-03-04

DC ocSiuco Oy mc mosiC-SouhS PuDiN
~ of the entire world. This ID the
amount which has been sambled BY
Hollywood film producers on what kind Of re-
eepion the public will accord screen versions OF
old literary classics.
Marking the completion Of the most gigantic
task since the advent of talking pictures. David
Copper6eld" now is ready for Mr.. and Mrs
Public. And Hollywood Is sitting back on is
launches to see what will happen. VII It be
received with the same enthusiasm that greeted
Little Women" q year ago. or will theater
patrons turn across the street to see a modern
story flashed upon the silver screenp
That is the prime question with which our
film generals now are concerned. And the an
swer is Of vital Importance. not only to Metro
Coldwyn-Maye executives who invested a mil
lion dollars in the picture. but to every pro-
Queer in the movie industry. The success or
failure Of this production will determine the
course they should follow during 1885 and per-
haps for several years to come From the ire
quency with which nickels. dimes and quarters
trickle into the box Office will come the answer
a. to whether movie-soers want classics tor
their fare.
David o. Selznick. producer Of Little
Women" and David Copper6eld." believes the
public does want them . . . provided they
are handled as classics.
II am firmly convinced that the public finally
has decided to accept the classics for its screen
entertainment" he declares. This. ] believe.
has been brought about through the exhaustion
by producers Of almost every possible slant on
the few basic sex and other modern situations
in current films.
ct DO not for a minute pretend that the pub
Il lie isn't interested IN modern and original
stories. Whenever a modern story comes along
that can give nm audience something new. it will
be lust an successful as in the old days when
everything was new. However. since the hope
Of getting such new and modern stories in any
quantity 10 very remote. producers may be
grateful for the classics"
Il was m the fall Of 1883 that Selznick
definitely made up his mind to tackle the mon
umental task Of bringing David Copperheld"
10 the scrsen-monumental because. beng the
most popular Of all Charles Dickens novels. II
has been read by millions who revere it and re-
gard its characters almost in the light OF living
persons.
Although there is no accurate record on the
sales Of this book. they are known to run way
into the millions. That means that Dickens
lovers would scream protests from the four cor
ner. Of the earth. should the slightest change be
MI. IN .---t--:-, this novel to the silv~~'
pss~~.-
His decision once made. oeIluIck lost no
time j. dispatchins . telegram 10 the studio legal
department y New York asking It to look into
the availability OF he screen rights.
Leaning that David Copper6eld" now 10
IN he public domain. all copyrights having ex-
pired, Selznick Immediately set to work max
ing preparations for the filming of the classic.
preparations which were to consume a years
time before actual shooting Of the picture could
get under way.
THE story Of what transpired during the year
l. prior to the actual shooting of this widely
read novel is equally as fascinating. if not more
90. than that Of the filming itself. Preparation
of a scenario. the tremendous amount Of re-
search necessary to ensure authentic settings. the
long search for a cast that would resemble
Dickens characters. and be able to enact them.
comprise a story almost as interesting as the
novel itself.
Although i was essential that the novel be