HOLLYWOOD’S MORALS

Otago Daily Times, Issue 27275, 29 December 1949, Page 2

HOLLYWOOD’S MORALS

In recent months this column has published several statements by leaders of the American film industry which have shown that Hollywood—a word which has come to signify the whole of the American film industry and its various ramifications—has started to regard itself with constructive introspection rather than its customary narcissism. Apart from the fact that foreign films have jolted the Hollywood moguls into a realisation that quality might be incorporated to advantage in more of their products, there has been a further realisation that the time is long overdue for a moral clean-up in an industry which basks in the glare of its own klelg-lights. In the last year or two there have been no scandals in the grand manner of the Fatty Arbuckle fiasco, the Mary Astor diary incident, and the Errol Flynn amorous pursuits. But the industry’s wonderfolk have still shown a depressing tendency to bring unfortunate aspects of their private lives into the public domain. The concern over Hollywood's somewhat dubious reputation for respectability in the public mind is reflected in the campaign being sponsored by the Motion Picture Industry Council to correct conditions which bring unflattering publicity to the community. The first objective of the MPIC, which was formed last February by the principal management, talent and labour organisations in the studios, is more vigorous law-enforcement by local agencies to rid the town of what it calls the “ scum fringe.” The MPIC proposes to assist with some deteqtive activities of its own to help to expose predacious elements that seek to invade the industry or to fasten upon the unwary among its members.

Concurrently, the MPIC is turning attention to those whom it describes as " young and impressionable newcomers ’ on the production lots and is recommending to the studios and independent producers that they hear down harder on the subject of personal conduct: It stresses the point that frequently these young people fairly leap from virtual obscurity into the dazzling glare of the Hollywood spotlight and that psychological preparation for this sudden change is essential if they are to cope with the blandishments and temptations that are likely to confront them. To help in dealing with this situation, the council suggests special courses in deportment to be given along with the usual studio coaching In such purely professional matters as dress, make-up, posture, diction “in ite‘dean-up drive the MPIC is proceeding on the assumption that the name Hollywood has become a synonym for the films and film people and wliatever crime or scandal of local origin, it may besmirch them. #

Alfred Fisher, New Y°rk ( entrepreneur, stated last week that A Streetcar named Desire” would open in Melbourne in February, 1950, and would afterwards be presented in Sydney, Adelaide, Brisbane, and New Zealand.

"A Streetcar Named Desire,” by 35-year-old American playwright Tennessee Williams, is now smashing all records at the Aldwych Theatre, London. Vivien Leigh plays the lead. Although the pMy was well received by the London critics (as far as one can gather, as much for Vivien Leigh’s acting as for the play s dramatic content), it was recently referred to by an English clergyman as “American sewage,” One critic described the play as containing some of the most harrowing scenes ever seen on the London stage.

Film enthusiasts in Germany’s cinema queues are talking about a young lady from Trier who was so alarmed by a J. Arthur Rank thriller that she jumped up from her seat and laddered her stockings. She wrote to Rank’s German representative: "You must not produce any more films like that or it will make cinema-going too expensive. A few days later she received a parcel with a message: “We regret it is impossible to change our production schedule ex * hibition programme—but we hope these gifts will make your cinema-going safer in future,” Inside were a pair of nylon stockings and a set of goalkeeper s kneepads. #

London Observer critic, Ivor Brown, is pleased with the news of the most cordial and exciting reception given to the Stratford company in Australia. Australia has been so enormously and continuously generous in aid to Britain that it is nice to think that our cultural exports are so much appreciated and are making, in their own small ( but important way, a return of thanks.” • • *

Terry Vaughan, musical director and producer of the Kiwi Revue Company, is composing a full-scale work for choir and orchestra in the competition organised by the New Zealand Broadcasting Service. The competition has been open for nearly a year, but Mr Vaughan only heard of it a few weeks ago, and is trying to complete the score In four weeks in order to be in time to qualify.

The effect of films on children is negligible, according to Mr J. O. Alexander, Australian Commonwealth film censor. At a meeting of the Children’s Cinema Council, Mr Alexander said he had discussed the matter with psychiatrists, doctors and judges. The child quickly forgot films Films did not teach the child to stage mock battles. They merely taught him a new technique of “ fighting ” robbers. A child of less than average intelligence would, perhaps, be influenced by films, but those cases were very few, Mr Alexander said. • * •

Negotiations arc reported to be on foot to brinir Robert Helpmann and t.he Sadler’s Wells ballet, company to Australia, and possibly to New Zealand.

The Pakistan newspaper Dawn has attacked the Hollywood film “ Everybody Does It,” which stars Linda Darnell as Fatima, daughter of Mohammed. ” Filming the life of a personage who embodies the ideal of Moslem womanhood is positively outrageous to the Moslem mind,” the newspaper says. “If the film makes an appearance, it will be banned throughout the Moslem world.”

Today Nijinsky’s name is a legend, but some have forgotten that the greatest of all male dancers is still alive. In pre--1914 Europe his fiery personality and dazzling technique were a sensation. In 1919 he fell mentally ill and has not danced since. He is now 59. His wife, Rotnola, writes in Leader Magazine of his emotion at the perfection of the Soviet Ballet in Vienna recently. He was given a box for all the performances. When, to honour him, they started to dance the variation of Sylphides, a ballet created by Nijinsky and Karsavina, he “ clutched his hands and followed each step, accompanying their dance with u hardly perceptible movement of the body.” ' He watched enthralled by the performance of Galina Sergetevna Ulanova. "All the great ones of the past were embodied in her form,” says Romola. She and Nijinsky could not stop applauding her as the greatest dancer of today.

Pianist Harriet Cohen, whose right hand is crippled, is practising a concerto written for the left hand only. It was specially composed for her by Sir Arnold Bax, Master of the King's Musick. She will play it at its first public performance with the Halle Orchestra next June. Sir Arnold Bax says he spent the last three months working on the concerto. “ I could not bear the thought of never again hearing Harriet.” Harriet started playing uncertainly, with her right hand, the wrist of which had a nerve severed by the sharp edge of a falling tray, lying useless in her lap.