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
Wednesday, April 19, 2017
What Price Hollywood? (George Cukor, 1932)
*As if there were any doubt, there's a clear link between What Price Hollywood? and at least the first A Star Is Born in that both were produced by Selznick. RKO, which released What Price Hollywood?, threatened to sue Selznick over the similarities, but decided against it. Selznick also asked Cukor to direct the 1937 film, but Cukor declined, so William A. Wellman took it on. But then Cukor went on to direct the 1954 Star Is Born. I don't think there's any direct connection between What Price Hollywood? and the 1976 version, produced by Streisand and Jon Peters and directed by Frank Pierson, but the lineage by then was obvious.