SERIES PICTURES

Timaru Herald, Volume CXLV, Issue 21210, 3 December 1938, Page 18

SERIES PICTURES

REVIVAL OF PIONEER SYSTEM The motion picture industry, Lks aviation, is realising that the pion.-?. 1 ? had some worthwhile ideas after all. The latest instance of this is rep esented by the rapid development of th’ “series” pictures. In the first days of motion pictures, when a four-reel film was styled a production, audiences were assured in advance of the kind of entertainment they could expect to see by a series of trade-marked pictures. There were the Mack Sennett comedies, the Hailroom Boys and Keystone Kop comedies and the Lonesome Luke group. Evr.vone of these trade-marks told the puolic that the players they were accustomed to see would be back again with a new bag of tricks. The tricks changed but the actors and actresses were always present. The serial reached ’is greatest peak at that time. Then the motion picture indust.y started to grow. Instead of being tworeels or four-reels in length, pictures were produced which attained eightreel length. In the short subject field, astute producers continued to lab's their various type of pictures with an

established trade-mark. The Crime Does Not Pay featurettes, Pete Smi:n specialities, Mickey Mouse and Dona id Duck cartoons, were guarantees Lt the public that they would see the entertainment they expected. Then came Carlie Chan. The first of the Chan pictures, made as a single enterprise, proved so popular that Warner Oland became Charlie Chan, losing his own identity in that of the Chinese detective. In the meantime, other producers had learned that some sequels were profitable. Metro - Goldwyn - Mayer made a picture, “The Thin Man,” with Nick Charles. Dashiell Hammett’s fictional detective, making his screen bow. The picture made Myrna Lov one of the most popular stars on me screen. The producing studio gauged the result, and made “After the Thin Man.” The same stars were used, the same’* series essentials were followed The result was another hit. Studio executives were beginn ng to sit up and take notice. They forgot, m temporary enthusiasm, that the foundation of the industry had been built on that formula. Then Mr Moto nade his sly appearance on the screen as a Japanese detective, and another reries was born. After that, the Jones Family made a screen debut. Then Metro-Goldwyn-Mayer made a picture called "A Family Affair.” It was a simple, unpretentious piccuie, but had all the ingredients for popular appeal, being based on adventures common to all families. Its success launched the Judge Hardy series. “You’re Only Young Once” and “Judge Hardy’s Children” were second and third in the series. The original characters are usually kept intact throughout a series. In the case of “Judge Hardy's Family,” Lionel Barrymore was the original judge. However, when the second of the series was ready for production, Barrymore was working in another picture. Lewis Stone replaced him. and he has retained the place ever since. People like to see themsleves in both embarrassing and dangerous predica-

ments, it is said. The adventures which befall Mickey Rooney, Cecilia Parker. Stone and Fay Holden are typical of the drama which figures in the pattern of every-day life Audiences, in viewing the Hardys’ struggle to extricate themselves fro*.i dilemmas,; actually live some remembered experience of their own in the persons of Stone and company. The series is proving an admirable source of entertainment to the theatregoer. Advised of the showing of a “Hardy Family” picture, they know they will see old friends in new adventures, favourite actors in a new story. They can almost guess what the story will be. but they derive entertainment from watching what might be the fam-, ily next door get into and out of trouble.