Evening star., 1945-10-31

II tell you why, the crltlc SAID
in a slightly frenzied voice, sit
shouldn't happen
1T has to happen" the theater
management said. IF a picture
dies, it dies. The finer the picture
the sadder the death, but what are
you going to do about. it?'
That" the critic said, lis why we
wanted to know how crazy you are
Why not fight for the picture? Why
not, just for once, keep a screenplay
just out of respect for it? Hold it
an extra week, even if you have to
play to an empty house. Maybe it
will, almost. But there will be
few people who believe in movies
with ideas who will come to see it
and go away believing even more
firmly in movies with ideas. Espe-
cially when they are dramatic and
timely and poignant. And beauti-
fully acted"
The critic was getting warmer by
the second, but the management
managed to interject:
"YeS, but We are taking a licking.
We've done that before, but -"
Never in better cause" the
critic slid in before the manage
ment could continue"
His position was none too sturdy,
but it was the best position avail
able at the moment. He explained: !:
mo one knows better than you,
who like critics pictures as much as
the critics do that we have taken
hundreds of such lickings. Not in
money. That's your province. But
when we go all out for picture and
We are left virtually solitary in our
enthusiasm, it stings. Not in the
pocketbook, We admit, but in a sense
of futility."
The theater management said 1t
knew that. It is a sensitive, intelli-
gent theater management and 1t goes
on believing in motion pictures
which dare to face the facts of life
even when moviegoers seem to be-
lieve merely in Olsen and Johnson,
Dorothy Lamour, Betty Cradle and
the torso and profile of Jon Hall.
But" it started to say.
This is no butting matter" the
critic cut in. That but should be
eliminated just for once. To get
back to the boxoffice-you've lost
money before on pictures. The SIM
pie fact is that you have lost it on
far worse pictures.
why not lose money, with delib-
crate malice, on good one?"s
u ~ ~
The theater management wanted
to know malice toward whom?"
The critic had the answer for that
one.
Toward those people who always
are gripping at the quality of the
movies. The ones who spoil cocktail
parties, and much better parts of
life, by screaming their heads of at
the empty, tawdry vanity of most
Of the things the screen has to offer.
What do they do when a great pic
ture, the kind they so vehemently
want to see, comes along? Well, they
sit around gripping at the other kind
and remain oblivious of the fact
that a producer and some other
people who feel the same way have
produced just what they are talking
about"
The theater management could
see that was a fine kind Of malice
and all that but it might put In an
other picture and some people-a lot
more, most likely-would come to
see 1t.
That" said the critic, "is just the
point. If they won't come to see one
of the most provocative pictures in
the last decade, don't let them see
any,"
That's insane" the theater man.
agement said.
Sure" said the critic, "but ap-
parently insanity has to be given a
trial before you can sell that kind
of picture-Sometimes."
That clinched it. The picture will
be held-and we bet 1t won't play
to an empty house.
The theater management is that
of the Little. The picture is Love on
the Dole" Don't miss it.