Viewing page 4 of 29

This transcription has been completed. Contact us with corrections.

[[image - the Vista-Cruiser]]
Scene stealer!
Or [[italics]] heart [[/italics]] stealer! By [[italics]] any [[/italics]] name, it's the sweetest wagon going. Plenty of room in its more than 100 cubic feet of cargo space! Smart Vista-Roof that lets more scenery inside, improves the scenery outside! Other virtues: hidden underfloor compartment forward-facing third seat and lively-performing V-8s that deliver up to 315 h.p. Sound like a lot? It is. Sound like a lot of money? It isn't. Ask your Olds Dealer!  Oldsmobile Division [[bullet]] General Motors Corp.

[[image - Oldsmobile logo]] Vista-Cruiser by OLDSMOBILE
[[italics]] The Rocket Action Car! [[/italics]]

[[image - film]]
screen
&
stage
KITH OR KIN?

[[italics]] by Dore Schary [[/italics]]

HAVING spent some years of varied activity in both Hollywood and Broadway, I have been asked to describe the relationship between the two...that is, if there is a relationship. Well, there is. However, it's an uneasy and suspicious kingship rather than kinship.
  There are many writers, producers, directors, who have worked and still work in both fields; Elia Kazan, Joshua Logan, Robert Anderson, Tennessee Williams, Paddy Chayefsky, William Inge, Otto Preminger, Tony Richardson, are prime examples. But generally theatre people view Hollywood with aloofness and disdain as a deadening influence on art. Giants in motion pictures, Sam Spiegel, William Wyler, John Huston see nothing artistically challenging in the theatre and if they do, the borrow it and expand it for the screen.
  To those wedded to the theatre, the only temptation still offered by films is the money to be earned. When I first went to Hollywood in 1933, the general warning posted was "Don't bring anything you can't take home on The Chief." Nothing much has changed except cross out "The Chief" and change it to "A 707 Astrojet."
  Before talkies came along, the theatre produced over 200 plays a year. The craftsmen who worked the theatre beat would contribute two or three shows a year. The box office returns weren't as staggering but you could earn a living. At that time, Hollywood was considered a distant outpost inhabited by vulgarians.
  The depression years were coincident with the birth and growth of talking motion pictures, and the desperate hunt for talent to supply the flourishing demand for films hit Broadway. Writers and their plays were gobbled up in a delusive conviction that if it worked on Broadway, it would work on film. A long string of failures brought the new realization (it always seems new each ten years) that the film medium is unlike the stage, and, for a time, there was a burst of original writing for the screen. In the late thirties and all through the forties, half of the films made in Hollywood were based non stories written directly for the screen. The bit hit

[[footnote]]
[[italics]] Dore Schary, who has written and produced many successful films and plays during a career that brought him prizes in both Hollywood and Broadway, will bring The Zulu and The Zeyde to the New York stage this autumn. [[/italics]]

5