A blog formerly known as Bookishness
By Charles Matthews"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Monday, October 3, 2016
Red Dust (Victor Fleming, 1932)
Bombshell (1933), which alludes to the Hays Office's concerns about Red Dust. John Lee Mahin was screenwriter on both films, though some of the better lines in Red Dust were contributed by the uncredited Donald Ogden Stewart. The movie is marred only for today's viewers by some period racism: the colonialist attitude toward the native laborers as "lazy" and the giggling Chinese houseboy played by Willie Fung.