THE HUMAN RELATIONS SERIES OF
FILMS
COMMISSION ON HUMAN RELATIONS
PROGRESSIVE EDUCATION ASSOCIATION
45 ROCKEFELLER PLAZA, NEW YORK, N. Y.
twenty-five cents
From the collection of the
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San Francisco, California
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THE HUMAN RELATIONS SERIES OP
FILMS
COMMISSION ON HUMAN RELATIONS
Progressive Education Association
45 Rockefeller Plaza, New York, N.Y.
Copyright 1939, Progressive Education Association
COMMISSION ON HUMAN RELATIONS
Alice V. Keliher, Chairman
Ruth Benedict Mark A. May
Earl T. Engle Daniel Prescott
Lawrence K. Frank Lorine Pruette
Wilma Lloyd Louise Rosenblatt
Alain Locke W. Carson Ryan, Jr.
Paul Witty
PRODUCTION
Joseph W. Losey, Supervisor
Helen van Dongen, Film Editor
Frances Hall, Technical Assistant
Margaret Knee rim, Executive Assistant
Celia M. Anderson, Research
Julie Heller, Secretary
EVALUATION
STUDY MATERIALS
Genevieve L. Coy
Walter C. Langer
Barbara Bode
Edna Albers
Bernhard J. Stern
ADVISORY COMMITTEE
Frank N. Freeman*
Florence Hale*
Howard M. lie Sour d*
Mark A. May*
I. D. Taubeneck
Frederick M. Thrasher
-^-Formerly of Committee on Social Values,
sponsors of "Secrets of Success" series
of films.
To the motion picture companies which have given fea-
ture pictures for re-editing into this series of short
films, the Commission expresses its appreciation for
their generosity and continuing cooperation.
CONTENTS
FILMS IN HUMAN RELATIONS EDUCATION
by Alice V. Keliher 5
STUDY GUIDES, incorporating teacher and
student material 13
FIELD SERVICE, making a trained leader
available to schools 14
BOOKS, suggesting helpful material for users
of these films 15
CONDITIONS OF RENTAL, explaining some legal
limitations 16
CATALOGUE, including resumes, rentals, audience
levels*, running times, etc. 17
STUDENT DISCUSSIONS, random samples of verbatim re-
ports, 27, 34, 40, 55, 58, 65, 76
STUDENT COMMENTS on the value of these films 84
INDEX, listing films alphabetically 87
-* Re commended audience levels are
designated under each title by
the following abbreviations:
Jr.H. Junior High School
H.S. High School
Coll. College
Ad. Adult
FILMS IN HUMAN RELATIONS EDUCATION
Our Responsibility
It must be clear to all thoughtful educators today
that many of our major problems arise from our inabili-
ty to get along with each other. Every generation pro-
duces a war. Few combatants have their hearts in, or
stomach for, the job of killing they are supposed to do.
Civilians equip themselves against slaughtering from
the air. Man's ingenuity has created more powerful
planes, larger guns that can project shells over tre-
mendous distances, repeating rifles, horrible bombs and
mines. The same ingenuity creates defenses of steel
and concrete. At the root of it all is his fear. He
fears his fellow man -- fears his motives, fears his
power. Each in turn fears the other. Why? Because
lines of communication between men have not been estab-
lished — by and large, man is unknown. And we, like
the people of all ages, fear the unknown and guard our-
selves against it.
Threats to our security take many forms in today's
complex world. Indeed, the more power we develop, the
more insecurity we produce for each other because we
have not included in our older concepts of morality the
newer demands that our possession of power makes. The
heritage of more power, more speed, more material pos-
sessions, only adds to our responsibility in accounting
for our stewardship in terms of human values.
One very encouraging aspect of the modern scene is
that this feeling of moral stewardship is emerging,
slowly, spottily, but steadily. The inventors of a
cotton picking machine devote profits to a foundation
whose funds shall be spent in retraining and rehabili-
tating workers whose jobs are terminated by use of the
machine. An industrialist who is going to modernize
his plant and make his present machinery obsolete
spends a period of time retraining workers so that they
can go from the old machine to the new without a hiatus
of unemployment. An airline, moving its offices half
across the continent, gives its heads of families time
with expenses paid to find new homes satisfactory to
them. A factory owner, finding conditions among work-
ers deplorable, divides ownership with them, makes re-
forms, lifts morale and aids in the establishment of
wholesome community life.
Hunan Needs and Human Relationships
At the base of this emerging concept is the real-
ization that man!s needs are universal, and that concern
for the welfare of any must incorporate concern for the
welfare of all. Every human being needs food, shelter,
clothing. Denied access to these, human beings behave
in predictable ways. They beg; they steal; they fight;
they become dependent; they organize for reform. They
react in a number of ways.* We know this,. We have
seen these things happen time and time again. We can
only prevent the resulting anti-social actions by see-
ing that all have a chance to have these needs grati-
fied. We recognize these physical needs and are at-
tempting in awkward ways to do something about them.
Less clearly defined but equally imperative are
man's other needs -- needs for human response, for st'a-
tus among his fellow men, for expression of himself,
for orientation in the universe.
Marie, in the film excerpt La Mat erne lie, is one
of the clearest cases of a sufferer from lack of human
response. Her mother neglects her. She doesn't know
her father. The landlady has no time for her. What
more natural than that she should cling to Rose, use
exaggerated forms of behavior to get her attention, act
in despair when this source of human response seems to
be removed? None of us can stand being alone and ignored.
There are many children, starved for response, for
affection and love, who would rather be punished than
ignored. Harvey illustrates this in Captains Coura-
geous (fish-hook sequence) in his reaction to Manuel's
refusal to speak to him. Much of Harvey's behavior in
squaring himself with Long Jack grows out of his deep de-
sire to hold Manuel's affection and trust. Sister Ther-
esa in Cradle Song illustrates the same need for affec-
tion and shows that this need persists right through life .
Alice's pathetic white lies and veneered behavior
in Alice Adams also spring from her need for human com-
panionship, her wish to love and be loved. Even the
gangster of Dead End, tough enough to have killed eight
men, was impelled to return to his old girl friend and
to his mother in whom he expected to find love. The
fact that his mother repudiates him and declares that
he has always been "nothing but trouble11 may have much
to do with the fact that he had in boyhood become a de-
linquent. Children who are strongly loved and believed
in by their mothers and fathers are not so likely to be
at odds with the world. But studies of delinquency
*(GrOOd Earth - famine . Wild Boys of the Road. The Informer. )
show that parents' lack of faith and affection Is In
most cases a strong contributing cause of delinquency.
The need for affection is so strong that people
often do unwise things in the name of love. Sister
Theresa (Cradle Song) tries to bind the adopted daughter to
her for fear of losing this love. Marian Hardy (Family
Affair) steams off at her father, whom she really loves
deeply, because of her fear of losing the boy she loves.
The wife in Splendor gives herself to a kind of life
she abhors because her love for her husband causes her
to put his wishes above all other considerations. The
mother in Wednesday's Child gives up her home, partly
gives up her child, and suffers disgrace because she
wants the love of another man.
This need for human response is deep and impera-
tive. In its expression man creates great music, im-
perishable art, poetry and dances. Man becomes a so-
cial being, takes over manners and customs, lives with-
in boundaries to secure love. And, as man acts when
food is denied, so man behaves in various ways when
love is denied, withheld or threatened. We have al-
ready said that rejected, unloved children often become
delinquent. Others may express themselves in violent
tempers, hatreds, attempts to hurt others, aggressive-
ness and hostility. Here our difficulty often is our
failure to see in this behavior the need for trust,
faith, affection and encouragement, not brutality and
punishment. The issue between the Judge and Buck's
father in The Devil Is a Sissy (juvenile court sequence)
is just this. The father believed in using the strap
and as a consequence was alienating his son. Compare
him with Claude's father who trusted his son. If, in
Bordertown. Johnny Ramirez seems to have a chip on his
shoulder, may it not have its origin in the feeling of
not being accepted, not being wanted by his social
group? Typical minority group aggressiveness has the
same origins.
This moves us toward a third group of needs. We
called them "needs for status" a while back. You could
call them a great many things: belonging, being a mem-
ber of the group, being identified with other human be-
ings, being accepted for what you are, being able to
hold your head up and look people in the eye because
you know they accept you. This is different from the
more personal need for love and affection we have just
ta-lked about. For many people, one person can fill
that need. Here we are talking about one's place in
the group. A delinquent boy in a reformatory recently
asked, "Why can't I be a person people would respect?"
Alice Adams needed status, respect, as do all the
rest of us, but she thought she would have it if she
had enough social veneer — if she adopted the values
of the group in which she wanted to be accepted. Har-
vey wanted to have a place in his school group (Captains
Courageous - school sequence), but he thought he would
get it through money. Claude wanted more than anything
else in the world to belong to the gang on his street (Devil
Is a Sissy - gang sequence), and he went through hazing, fist
fighting, and many difficulties in order to be accepted. He
wanted to dress as the gang did so that he would not feel an
outcast — so that they would take him in as one of them.
The grandmother in Make Way for Tomorrow needed to
be accepted as a part of the family, wanted to belong
in the bridge club situation. She felt outcast. She,
too, behaved in ways that she hoped would bring her
into the group. Mar is in Woman Against Woman finds it
almost impossible to bear the fact that she is an out-
cast in the community where her husband's mother, first
wife and child live.
We see in these many characters reflections of the
way we all behave when we feel that we are out of the
group. We adopt the values of the group we want to be
with, even if those values may be destructive in the
long run. We try to buy acceptance with money or gifts.
We go through physical hazards and difficulties. We
try, oftentimes in unwelcome and pathetic ways, to do
things for people so that we will be accepted as one of
them.
We may battle for our place like Ramirez (Border-
town) ; we may feel beaten and try to run away from our
sense of rejection and failure as he did later, and as
Maris wanted to do (Woman Against Woman) ; we may try to
assume authority and command a place, as did Mr. Jones
in Educating Father. (He had earlier tried to set him- •
self up by pointing out that he had paid for the ice
cream and cake.) And oftentimes these things we do in
our desperate desire to belong only make the group like
us less. Should the group understand the way we all
behave when we feel outcast, they would realize that
the only logical cure is acceptance into the group and
granting of status. People don't have to fight for
what is given them anyway. Had Germany been given a
place in the nations of the world, had she been given
status, had she been accepted for her efforts to become
a democracy instead of receiving continuous rejection
and punishment, the story of today's world might have
been far different.
But all this ties up with what we value, and it
makes us realize that our own re-education in what are
enduring values for man to build his group life upon is
one of the most important tasks before us. This re-
lates closely to another set of needs which cluster
around our desire to express ourselves. Part of this
Is a need to feel effective or successful In what we
do. Part of It is a need to have some sense of power
over things and events. Of course, our feeling of ef-
fectiveness or success in what we do is practically de-
pendent on what we value •
If we share Mrs. Adams T (Alice Adams) value of
money, then we must agree that Mr. Adams in terms of
her set of values is not a success, has not been effective
in his work. But if we value, as we suspect Mr. Adams
does, quiet life, friendly relations with the men he
works with, and continuous development of his own job,
we must agree that he is successful and effective, and
he should be permitted to feel so. The conflict of
values in the Adams' home, however, made the full real-
ization of a feeling of success Impossible for any mem-
ber of the family.
Harvey (Captains Courageous - fish-hook) showed
clearly that he felt effective and successful when he
succeeded in blocking Long Jack's fishing activities.
That he did not think this a bad means to success was
due to his set of values. In this he was not so dif-
ferent from Captain Disko (Captains Courageous - race)
who set aside all other values to succeed in winning
the race.
In Stephen Chase (Oil for the Lamps of China) the
need for success is so strong that values not directly
related to getting along in the Company are set aside.
What he failed to do was to see whether or not the
values the Company held before him were worth the sac-
rifices he was making for that kind of success. Dr»
Ferguson in Men in White has some of the same issues to
face. Must he choose between success and love? Can we
visualize a society in which we do not make this demand
on the professional worker?
On the other hand, Pasteur made many sacrifices of
other needs, such as physical comfort and being accepted
by the social group, because he was so concerned with
doing effective work in his research (Story of Louis
Pasteur). His feeling of effectiveness and success
grew out of his ability to accomplish the things he
valued — service to the people and pushing out the
frontiers of knowledge. Had the world never accepted
his work he would probably still have felt effective
because he was achieving the things he valued. This is
true of many researchers who are ahead of their times,
in whom the need to produce effective achievement is
great enough to compensate for the failure to be ac-
cepted and given status by society.
This renders all the more important the choices people
make for their fields of work. Payson in Ceiling Zero
was not at home in aviation. His fear prevented success,
He was in the wrong work. Ramirez (Bordertown) could
not feel effective in what he was doing because he was
ill-prepared and felt his opportunities were limited at
the start. Mr. Peabody felt unsuccessful, ineffective
as a china salesman (If I Had a Million) . He was hen-
pecked about it, dreamed bad dreams, and when he had a
chance took out his feelings of resentment and hostili-
ty toward the whole business by going back and breaking
all the china he could get his hands on. He might have
done an excellent job of raising pedigreed rabbits.
On the other hand, Florence Nightingale in White
Angel, met resentment, hostility and sabotage of her
work with all the more determination to go ahead with
it, for her feeling of effectiveness came out of her
own realization of accomplishment in work she was able
and fitted to do.
And here is an important fact for understanding
the behavior of many of us. If we feel unsuccessful
and ineffective, we get no sense of power out of what
we are doing and so we may turn to other means of ex-
erting power, means that are destructive of human val-
ues. Hitler is the current example of a man who felt
ineffective all through his life and sought to compen-
sate through more and more control over the destinies
of people. We sometimes find the same type of compen-
sation in certain "hard-boiled" factory supervisors,
prison guards, and others in position of authority.*
These are the people who like to rule with an iron hand
for the sense of power it gives them. This is a trag-
edy for the world because it reduces the working of de-
mocracy, and it is a tragedy for the person who dic-
tates because his feeling of ineffectiveness pursues
him and he realizes that to maintain his power he must
retain the iron fist and give up much of the satis-
faction of his need for warm human response and belong-
ing to the group.
We might almost say that terrific ambition and
lust for power are measures of a person's failure to
round out a life in which he can meet his varied needs
and still feel effective as a human being. Taylor in
Black Legion feels unsuccessful, thinks he has lost
face when he fails to get promotion, joins the Black
Legion as a means of power over others, rationalizes
what he does in the name of keeping "America for Ameri-
cans", and loses everything else he valued.
* (Big House. I Am a Fugitive from a Chain Gang*)
10
In days of depression and unemployment we have to
watch carefully to see how people compensate for the
crushing feeling of failure that comes with being
unemployed. Our society values work highly. So highly
that any work is better than none. Those deprived of
work or an equivalent avenue of success are often ready
to compensate by joining any movement in which they
can jointly express resentment, hatred and power.
Those whose work is exceedingly tedious, or insecure in
tenure and income, may also be ready to give themselves
to riots, mob action, lynching and the like. I* For ex-
ample, there is a definite relation between the price
of cotton and the number of lynchings in cotton produc-
ing states. War takes hold more readily in a world
full of unemployment. The very quality of community
life, the presence or lack of recreational facilities,
education that increases resentment or education that
liberates people for effective creative action, all
have their part in the ways people behave when as groups
they have power in their hands.
The first step in the accounting for our steward-
ship of the tremendous power now in our hands will be
to answer the question, "How much did we try to under-
stand and change the causes of man's difficulties,
problems and tragedies?" For the search for causes is
always the first step of the reasonable man. The next
step of the truly moral man, is to do his part in re-
moving those causes.
We have not mentioned all man's needs nor the man-
ifestations of those needs in his behavior. 2*- This
short presentation is meant only to start discussion
leaders thinking about the characters presented in some
of the films and some of the reasons for their behavior.
We have experimented with THE HUMAN RELATIONS SE-
RIES OF FILMS for two years and have had splendid co-
operation from schools in all parts of the country. We
know from our records of discussions and from our sur-
veys of attitudes, that students can learn to see the
causes that lie back of human behavior and see what can
be done about them. Not in all cases can students do a
great deal about some of the causes. But in almost
every situation they can do something about allied
problems that lie right within their own group life.
(Fury. Black Legion.)
(The Commission has a pamphlet "The Theory of Human
Needs", by Walter C. Langer, prepared especially
to go with the motion pictures. Order from the
Commission. 25^, 10 for $2.00.)
11
They may not be able to do anything specific about
the problem Ramirez faces in the southwest (Bordertown).
but they can do something about, the students in their
own school who are ostracized and rejected because of
race, creed, color, interests, clothes, economic cir-
cumstance, or the location of their homes in the commu-
nity. Students may not be able to do anything about
Dead End conditions in New York City, but right in
their own communities more than likely there are needs
for play facilities for y^pung children, needs for or-
ganized athletics and recreation, needs for community
dances and town meetings, where all may come and be
busy at worthwhile things. Students can point out
these needs and, in many cases, start the action neces-
sary to get something done about them.
Possibly the most important thing we can do with
these films is to extend students' awareness of the
many, many ways people live their lives. All of us
suffer from the limitations of our own experience —
usually in our one community. We suspect the different.
We are intolerant of it because we fear it. If we are
to reduce fear and thereby get human beings to lower
their defenses in favor of a positive group life, we
must bring man out of the realm of the unknown and de-
vote as much time to trying to know him as we do to try-
ing to know the products of his mind.
THE HUMAN RELATIONS SERIES OF FILMS was selected
and edited with these objectives in view. We have de-
liberately shaped the pictures so that they will call
forth discussion. The group experience of seeing the
same human beings in action combined with the discus-
sion of their problems and the causes of their behav-
ior makes the film experience educative. The film
alone will not do it. The film provides the case back-
ground, the personality study; the student discussion
clarifies ideas and deepens understanding. (Later in
this catalogue are short sections from high school stu-
dent discussions to illustrate this point.)
Alice V. Ke liner
12
STUDY GUIDES
We have made extensive study of the stenographic
records of student discussions of these films. Prom
those discussions we have discovered in what areas
source materials for clarification and extension of
thought are necessary. The s,tudy materials which ac-
company each film quote such ,so^Hf»ces in /order that the
needed information will "be riSJC on hand*. In some
cases where the events in the film may be questioned,
as in Fury, Black Legion, and I Am a Fugitive from a
Chain Gang, photostat ic copies of news reports covering
the events are reproduced.
The guides also contain selected bibliographies
and suggested questions for discussion. One guide
comes with the film, and must be returned with the film,
Others can be purchased from the Commission at 25^, 10
for $2.00.
A pamphlet, nA Theory of Human Needs", has been
prepared by Dr. Walter C. Langer to aid in the psycho-^
logical analysis of the film contents. This is avail-
able from the Commission at 25^, 10 for $2.00.
From time to time other pamphlets dealing with in-
terpretations of specific films will be published at
the same price. Those wishing to be notified of these
publications, please write, and the Commission will
place their names on the mailing list .
A book on discussion method, giving annotated
stenographic records of discussions and breaking down
into detail problems of technique, is in preparation.
It will be -ready in the spring of 1940.
13
FIELD SERVICE
Because of the tremendous importance of the dis-
cussions following showing of these films and the in-
tricacy of good discussion technique, the Commission
has added Mr. James P. Mitchell to the staff as Direc-
tor of Field Service.
Mr. Mitchell has had two years of experience in
using these films and leading discussions during the
experimental period. He is an unusually able discus-
sion leader.
The Commission is making Mr. Mitchell's services
available to those who are using the films. He will
give demonstrations with students, conduct conferences
with teachers and other discussion leaders, and in
other ways assist in the preparation of leaders for the
use of the films. The only charge to the groups that
use his services is for travel and. living expenses. As
often as possible Mr. Mitchell accepts several engage-
ments on one trip, and this reduces the travel cost for
each group proportionately. Those who wish to use his
services would be wise to write immediately as his
schedule is prepared some time in advance.
14
BOOKS THAT WILL HELP IN THE USE OF THE FILMS
Keliher, Alice V., LIFE AND GROWTH, with the Commission
on Human Relations, D. Apple ton- Century, New York,
1938. Simple, direct text with illustrations giving
broad survey of facts and problems in growth and
development. Part I, Human Life and Social Progress
especially useful in film discussions.
Rosenblatt, Louise, LITERATURE AS EXPLORATION, for the
Commission on Human Relations, D. Appleton-Century,
New York, 1958. Discusses the use of literature in
understanding human life. What is said of the
printed word applies equally well to films.
Stern, Bernhard, THE FAMILY PAST AND PRESENT, for the
Commission on Human Relations, D. Appleton-Century,
New York, 1938. An excellent source book with unu-
sually well selected, long quotations on the family.
Provides good background for all films dealing with
family life.
Taylor, Katherine W., DO ADOLESCENTS NEED PARENTS? for
the Commission on Human Relations, D. Appleton-Cen-
tury, New York, 1938. Excellent material, both text
and source quotations on present day problems of the
adolescent in relation to his family in particular
and the world in general.
Wunsch and Albers, THICKER THAN WATER, for the Commis-
sion on Human Relations, D. Appleton-Century, New
York, 1939. A collection of 24 short stories con-
cerned mainly with situations that come up in family
life. The preface which is concerned with discussion
technique would be helpful for film discussions as
well.
Witty and Skinner, Editors, MENTAL HYGIENE IN MODERN
EDUCATION, Farrar and Rinehart, New York, 1939.
Important for background of understanding human be-
havior. Chapter IX, by Alice V. Ke liner, gives a
summary of needs in relation to special problems
of adolescents.
15
CONDITIONS OF RENTAL
The Human Relations Series are excerpts made from
well-known feature films. The motion picture companies
have given these films to the Commission for use in
this educational experiment. Since the Commission does
not own the copyrights, it must strictly observe the
legal arrangements under which the companies make the
films available. For this reason certain restrictions,
which may in some cases seem severe, are placed upon
the rental and use of the pictures. Violations of the
terms of the agreement are liable to prosecution by the
companies which hold the copyrights.
Films of the Human Relations Series are rented for
educational purposes only. Their use is legally
restricted to regularly established classes or study
groups in educational institutions and organizations
within the continental United States. They are to be
used during hours when, and in locations where, such
classes or study groups are regularly held.
No individual admissions may be charged to the
showings of the Human Relations Series of films. (This
does not apply to tuition fees paid by students at the
beginning of a school term.)
Public demonstrations of the films may be given
only by arrangement with the Commission.
Under no conditions may films be used by organiza-
tions to promote attendance or secure membership.
Each application for rental of the pictures must
be made on the legal form provided or approved by the
Commission, requiring signatures of both parties. Vio-
lation of the conditions of rental will terminate the
agreement •
By arrangement, visual education departments of
public school systems, university extension libraries,
and similar organizations, may rent films for use by
member groups. In these cases, contracts for the films
are signed by the parent organization, and forms are
executed by the member groups each time films are used.
Damage to films serious enough to require partial
or total replacement will be billed to the user at
cost . This cost will represent laboratory charges and
transportation. The Commission cannot send replacement
footage for insertion by users of the films. Replace-
ments will be made only when the films are returned to
the Commission.
16
CATALOGUE
ALICE ADAMS (dance)
R.K.O. - Radio 1935
Producer: Pandro S. Berman Dir'ector: George Stevens
526 ft., 15 mins. running time Jr.H., H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Alice Adams goes to the florist to buy a cor-
sage to wear to Mildred Palmer fs Party. She cannot af-
ford any of the flowers he suggests, but she explains
that he has nothing "individual" enough for her. She
picks a bunch of violets in the park, makes her own
corsage and dresses in an organdie remodeled for the
occasion.
Mrs. Adams blames her husband for not making
enough money to give Alice the advantages her rich
friends have. She tells him it is because Alice doesn't
have pretty things that her brother Walter has to take
her to the party instead of a nice young man.
It is raining hard, and Alice is horrified to find
that Walter has borrowed an old truck from one of his
friends to get them to the party. She insists that the
car be left where no one at the party can possibly see
it. Arriving at the dance Alice finds that she is not
as well dressed as the other girls. She exerts her-
self to appear at ease and greets her hostess effusive-
ly, but is snubbed.
Alice dances with her brother and is embarrassed
when he greets the Negro orchestra leader as an old
friend. She keeps up a feverishly gay front, sits out
a dance with the bore of the party, talks vivaciously
with him. Her home-made corsage wilts, and Alice tries
to throw it away unobtrusively. An attractive late-
comer, Arthur Russell, retrieves it and returns it to
her. Russell asks her to dance. She puts herself out
to be entertaining and attractive. At the end of the
dance, Alice asks Russell to find her brother Walter.
He locates Walter in a crap game with the attendants in
the cloak room. Alice is so humiliated that she leaves
the dance immediately. At home she tells her mother
that she had a lovely time, but goes to her room to cry
her heart out in disappointment. Her father hears the
crying and looks discouraged.
17
MALICE ADAMS (money)
R.K.O. - Radio 1935
Producer: Pandro S. Berman 'Director: George Stevens
534 ft., 15 mins. running time Jr .H., H.S., Coll., Ad
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Alice Adams1 father is on sick leave from his
job as a clerk at Lamb's. He is worrying about his
lack of money, feeling that Alice cannot have the ad-
vantages which her girl friends have. He says he
ought to try to get another job. Alice comforts him by
saying that it is quite all right, he is happy in his
job and should stay there, and she will try to get a
job herself. Mr. Lamb comes to pay Mr. Adams a friend-
ly visit.
Walking down Main Street, Alice pretends she is
window-shopping, but watches her chance to slip unob-
served into the secretarial school. Just as she is go-
ing in Arthur Russell, a young man she had met at a
dance, calls to her, and Alice pretends that she is
helping her father choose a second secretary. Alice
tries to impress Russell that she herself is "differ-
ent", that her brother is "unique" and that her father
is "eccentric" — all to explain why she doesn't have
fine clothes and a swanky home. At home, her brother
Walter tells Alice she is making a fool of herself
working so hard to impress Russell, who is supposed to
be Mildred Palmer's boy friend. But Alice says her
brother is "vulgar" and tries to dismiss it.
Russell has promised to call, and Alice gets flow-
ers for the house. She waits for several evenings.
The flowers are dead, and Alice, dressed in a middy
suit and apron, is throwing them away when Russell ap-
pears. She tears off her apron and keeps him outside
on the porch, making her father's illness the excuse
for not taking him into the house of which she is
ashamed. Mrs. Adams hears Russell ask Alice if he can
take her to Henrietta Lamb's dance. Alice has not been
invited, but she covers with the excuse that she is
staying home because of her father's illness. Mrs.
Adams goes upstairs to her husband, rails at Mr. Lamb
because his daughter had not invited Alice to her party
and claims that she wouldn't dare snub Alice if the
Adams had money. Mr. Adams defends Mr. Lamb and loses
his temper. This only adds to Alice's humiliation be-
cause the quarrel can be heard downstairs. Mrs. Adams
cries that it is all Mr. Adams' fault that Alice is
18
miserable. "Let me tell you, Virgil Adams, the way the
world is now, money is f amily."
^ANIMAL KINGDOM
R.K.O. - Radio 1932
Producer: David Selznick Director: E. H. Griffith
568 ft., 16 mins. running time Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Tom Collier has been living with Daisy, a suc-
cessful commercial artist, for three years. Both as-
sumed that they were free to do as they chose. While
Daisy is away in Paris he meets Cecilia and falls in
love with her. They are to be married. Cecilia and a
friend of Tom's go to meet Tom and his father and an-
nounce the engagement . Tom, as usual, is late for the
appointment. Mr. Collier complains bitterly about his
son's general behavior, and his liaison with Daisy.
Cecilia explains that she is to marry Tom and, although
delighted, Mr. Collier warns her that Tom will be a
problem.
Tom arrives, and finds a cablegram from Daisy an-
nouncing her arrival in New York that night . After ex-
plaining to Cecilia exactly what his relationship to
Daisy has been, Tom goes to meet Daisy and tell her of
his coming marriage.
Before Tom can explain about his engagement, Daisy
tells him that she wants to have a child, and asks him
to marry her. As Tom hesitates, Daisy explains that it
needn't be for long — they can still be free to do as
they wish. When Daisy learns that Tom is very much in
love with Cecilia, and plans to marry her, she is emo-
tionally upset and dismisses Tom saying that they must
not see each other in the future. Tom had expected to
continue his friendship with Daisy and wants nothing to
break it up. Daisy, however, Insists on complete
separation.
^ ARROWSMITH
United Artists 1931
Producer: Samuel Goldwyn Director: John Ford
478 ft., 13 mins. running time H.S., Coll., Ad.
16 mm. sound
19
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8. DO for 6 weeks 20.00 for 30 weeks
RESUME : Dr. Sondelius and Dr. Arrowsmith have made a
serum for bubonic plague. They take it to the plague-
ridden West Indies for final testing. The agreement
with tjie McG-urk Institute, their sponsor, is that half
the patients shall be inoculated and half shall not.
But local authorities in the West Indies balk the
experiment by insisting that natives are not guinea
pigs, and that the serum must be given to all or none.
The day seems to be saved when a Negro, Dr. Marshall,
offers to cooperate with Arrowsmith and Sondelius among
his own people in the interior. At first the experi-
ment is carried on in the spirit of heroic science. But
Sondelius, stricken with the plague, dies urging Arrow-
smith to forsake the experiment and give inoculations
to everyone.
.BIG HOUSE
Metro-Goldwyn-Mayer 1930
A Cosmopolitan Production Director: George Hill
602 ft., 17 mins. running time Sr.H., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME ; Kent is sentenced to ten years in prison for
manslaughter. Driving while drunk he had run a man
down and killed him. At the prison Kent is put througji
the routine to which all new prisoners are subjected.
The Warden cautions him about his behavior in prison,
and advises him to be careful of his associates. The
prison is overcrowded, so although a first offender,
and young, he is put in a cell with Morgan, a thief who
boasts of his robberies, and Butch, a professional
killer.
In the prison yard Kent becomes acquainted with
Oliver, a fellow-convict. Oliver is a stool pigeon and
introduces Kent to the idea of shortening his sentence
by informing on his fellows. Butch and Morgan stage a
race between two cockroaches, and Butch wins by fixing
Morgan's cockroach to the ground with a piece of chew-
ing gum. A fight starts which is broken up by prison
guards. Butch and Morgan stick together against their
common enemy and swear that they were only playing.
20
In the prison mess-hall that evening, Butch starts
a riot to protest against the bad food. In a very few
minutes the whole hall is in an uproar. But the men are
quickly cowed by armed guards, and Butch is taken to
solitary. A knife which Butch carries is passed from
hand to hand under the table, and is kept by Kent. Dur-
ing a search for hidden weapons Kent plants Butch' s
knife in Morgan's coat, and when it is discovered Morgan
is sent to the dungeon.
The Warden complains bitterly about the prison con-
ditions. There is cell accommodation for only 1800,
but there are 3000 convicts. "They all want to throw
people into prison, but they don't want to provide for
them after they are in Some day we are going to pay
for this shortsightedness."
BLACK LEGION (Taylor)
Warner Brothers 1956
Director: Archie L. Mayo
735 ft., 20 mins. running time Sr. H., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
§7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: It is noon hour at a factory. The men are
outside eating their lunches and relaxing. The fore-
man announces that he has been promoted, and that his
position is now open. The men speculate as to who will
get the job. Taylor hopes and believes that he is the
next in line. He starts to plan accordingly, talks to
his wife about a new car, repairs on the house, a new
vacuum cleaner. Even his young son is boasting about
his father's new job. But Dombrowsky, a hard-working
studious fellow, inventor of an oil gauge, who is made
fun of by some of the other men in the shop, gets the
job. Taylor is furiously disappointed. He feels that
the rest of the fellows are laughing at him. He be-
comes sullen, careless in his work, and resentful of
Dombrowsky' s orders.
Seeing his attitude, Cliff, one of his fellow
workers in the shop, interests Taylor in an organiza-
tion which will help him protect himself against "for-
eigners" like this "dirty Hunyak" Dombrowsky. Taylor
goes to one of the Black Legion secret meetings, and
after listening to its leader harangue against "foreign-
ers", he decides to join. He is made a member and takes
the oath of loyalty to the Legion. Taylor buys a revolver
and a uniform which he can ill afford, and goes to Le-
gion meetings. One night the Legion members go out to
the Dombrowsky farm, assault the Dombrowsky s, burn
their buildings, and run them out of town. The Legion
members celebrate their night's work in a beer tavern.
21
BLACK LEGION (violence)
Warner Brothers 1936
Director: Archie L. Mayo
1036 ft., 29 mins
16 ram, sound
running time Sr. H., Coll., Ad.
RENTAL §5.50 for 1 week
$8.00 for 2 weeks $25.00 for 15 weeks
13.00 for 6 weeks 45.00 for 30 weeks
RESUME: During the noon hour at a factory, the foreman
comes to tell the men that he has been promoted and
that the job of foreman is open. Taylor, one of the work-
ers, feels so confident that the job will come to him
that when he hears Dombrowsky, a Polish American, has been
given the job he is furiously disappointed. He becomes
slack and discontented on his job, and resents taking
orders from Dombrowsky. Seeing his attitude, Cliff,
From a discussion
Norman: "There was some force that was causing him
to be insecure, but he evidently found the wrong
cause for his insecurity."
Betty: "And after he had found the wrong solution,
then he was stuck with it. We ought not to be stuck
with our mistakes, and I don't think we have to."
From the photoplay BLACK LEG-ION. Courtesy Warner Brothers,
22
another of the workers, approaches him and interests
him in an organization which can show him how to pro-
tect himself against these "foreigners". Taylor goes
to one of the Black Legion meetings and listens to a
harangue against the "deadly peril" of letting for-
eigners run loose in this country. He applies for mem-
bership, and takes his oath of loyalty to the Black
Legion. He is ordered to "buy himself a revolver and a
uniform which he can ill afford.
Under cover of night, the Black Legion members
ride out to Dombrowsky's farm, set fire to the build-
ings, tie the Dombrowskys up and run them out of town
on a freight train. With Dombrowsky gone, Taylor gets
the job of foreman.
The Black Legion officials insist on new members,
and Taylor tries to use his influence as foreman to get
a new man interested. While talking to him things go
wrong in the shop. An expensive machine is ruined.
Taylor is demoted, and a man of Irish extraction gets
the foremanship. The new foreman is attacked and
beaten. Taylor's wife and friend Ed become worried and
suspicious. His wife accuses Taylor of being among the
attackers and Taylor becomes furiously angry. He
strikes her, and she leaves him, taking their son with
her.
Taylor tries to leave the Black Legion, with no
success. A woman takes advantage of his loneliness,
goes home with him. They both become drunk and noisy.
Ed, who lives next door, puts the woman out and tries
to bring Taylor to his senses. Taylor boasts to Ed
about the Black Legion and Ed threatens to tell the po-
lice. Taylor is crazy with fear. He knows that the
Black Legion will kill him when they find he has be-
trayed them. On the charge that Ed has hurt a woman,
he persuades them to go after his friend. Ed tries to
make a get-away and in fear and confusion Taylor shoots
him. Taylor, found near the scene of the crime, is
jailed for murder. In prison he is visited by one of
the Black Legion leaders who tries to guarantee Taylor's
silence about the Legion by threatening the life of his
wife and child.
^BORDERTOWN
Warner Brothers 1935
Director: Archie L. Mayo
510 ft., 14 mins. running time Sr.H., Coll., Ad.
16 mm. sound
23
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Johnny Ramirez, living in a Mexican quarter of
the Southwest, works hard and finally gets his law de-
gree at a small night school. His family is very poor,
and have made many sacrifices to help their son get his
education.
His first case is the damage claim of an old Mexi-
can whose wagon has been run down "by a society girl,
driving home after an all-night cafe session. In court
Johnny is handicapped by his lack of experience in
legal procedure. His manner and accent are against him,
He succeeds only in antagonizing the judge and losing
the case for his poor old friend because - naively - he
has neglected to prepare proper evidence. He believed
that since his story was true, all that was necessary
was to tell it. Confused and angry, he turns on the
rival attorney whose scorn of him has been scathing,
and knocks him down in the court -room.
In danger of disbarment, and sick with disappoint-
ment at his failure, Johnny feels that what he had
lacked was a "million dollar education". Money is the
only thing that makes any difference in this world. No
poor Mexican had a chance in court. So he leaves home
despite his mother Ts plea, determined at all costs to
get his hands on enough money to insure himself the
power he thinks it will bring him.
^BROKEN LULLABY
Paramount 1932
An Ernst Lubitsch Production
325 ft., 9 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME : A sensitive young French musician is haunted
by the face of a young German musician whom he killed
during the World War in hand to hand combat. To re-
lieve his feeling of guilt, he goes to Germany to seek
out the young German's parents.
The German father at first tries, to turn the French
boy out of the house, telling him that there can be no
understanding between the German and the French. Mil-
lions of dead lie between them. However, the dead boy's
mother and fiancee welcome the Frenchman whom they have
seen putting flowers on their boy's grave. They assume
he has knowri the German in Paris, and he finds himself
accepted in the family as a friend.
In the town tavern, the German father meets his
beer-drinking companions. They greet him coldly be-
cause he is entertaining a hated Frenchman in his home.
The old man is roused into making a stirring indictment
against hatred and war. Who sent the boys out to die
and cheered them as they went? Who gave them bullets
and gas and bayonets? We, the fathers -- here and on
the other side. We are too old to fight, but not too
old to hate We are responsible.. As the old Ger-
man prepares to leave the tavern, he is stopped by a
young German who had lost his leg in the war. They
shake hands, and the old man says bitterly: "I stood
outside this hotel when my son marched away. He was
going to his death.... and I cheered!"
^CAPTAINS COURAGEOUS (school)
Metro-Goldwyn-Mayer 1957
Producer: Louis D. Lighten Director: Victor Fleming
446 ft., 12 mins. running time JrJI., H.S. , Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 50 weeks
RESUME; Harvey Cheyne ! s mother is dead and his father
is far too engrossed with his business enterprises to
pay much attention to him. Harvey is unpopular with
the servants in his home, whom he orders about, and
with his schoolmates, whom he treats in much the same
manner. Mr. Cheyne is too generous with pocket-money,
and has made many expensive gifts to the school which
ten-year-old Harvey attends. Harvey, therefore, feels
that he should have special privileges. He is arro-
gant and uncooperative, in spite of attempts on the
part of the faculty to win him over.
After trying to bribe one of his schoolmates to
take him into a club, and one of the faculty members to
give him good marks, Harvey is placed in Coventry at
the school (no one is allowed to speak to him). He is
enraged at the treatment he is getting, and when knock-
ed down by one of his schoolfellows, he smears himself
with ink, and runs away to New York to complain to his
father of the "cruelty" with which he has been treated.
25
In a conference with the school head and a teacher,
Mr. Cheyne finds out that Harvey, far from being a vic-
tim of injustice, is the cause of a great deal of
trouble. He is concerned to learn that the masters be-
lieve Harvey's behavior is partly the result of Mr.
Cheyne ' s absorption in business affairs and consequent
neglect of Harvey. Harvey is suspended for the rest of
the term.
As the visitors leave, Harvey, who has been eaves-
dropping, rushes back to bed. When his father comes
into his room, he fakes a nightmare in which the teach-
er is supposed to be beating him. His father tells
Harvey that won't work any more, and says good-night.
^CAPTAINS COURAGEOUS (fish-hook)
Metro -Go Idwyn-Mayer 1937
Producer: Louis D. Lighten Director: Victor Fleming
448 ft., 12 mins. running time Jr.H., E.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME; Manuel, a fisherman, picks ten-year-old Harvey
Cheyne out of the sea where he has fallen from a liner.
The fishermen revive Harvey and put him to work in the
galley. The crew call him a "Jonah", but Manuel be-
friends him.
The captain urges the fishermen to increase their
catch. Long Jack claims that Harvey, the "Jonah", has
held them up, and that Manuel could increase his catch
if he gave up his hand lines and used trawls. Long
Jack claims that Manuel, a Portuguese, doesn't know
anything about fishing. Manuel makes a friendly bet
with Long Jack that with Harvey as dory mate he will be
able to catch more fish the following day than Long
Jack and his regular dory mate.
Harvey is flattered and excited to be going out
with Manuel. He sneaks up on deck and fouls the lines
in Long Jack's boat.
Out in the dory next day, Manuel shows Harvey how
to bait the hook, lets him pull in his own catch, a
large halibut, and congratulates him as a fisherman.
Long Jack, throwing his trawls overboard is tangled up
in them and a number of hooks get caught in his arm.
Harvey frankly tells Manuel he had snarled the lines
and is surprised when Manuel immediately throws away
26
his fish and takes him back to the schooner, refusing
to speak to him. Harvey asks the captain why Manuel
won't speak to him, but the captain refuses to have any
part in the argument .
Long Jack, who has been hurt by the hooks in the
fouled line, accuses Manuel of cheating and attacks him.
Harvey confesses, and Long Jack wants to beat him. Man-
uel defends Harvey against the angry fisherman. When
Harvey apologizes to Manuel, Manuel explains to him
that we all do things of which we are ashamed. It is
the way we learn not to do them again.
STUDENT DISCUSSION; CAPTAINS COURAGEOUS (fish-hook)
(Part of a discussion by a group of
Colorado high school students)
Leader: What do you think of the way Manuel handled
the situation?
Student: He handled it a great deal by affection and
working on the child's emotions so that he
felt — well, I know from the background of the
picture the child had not been given much af-
fection before; that is why he was so taken
up by Manuel.
Student : He showed that he believed in Harvey, and he
had courage to go on.
Student: Manuel gave him a lot of responsibility when
he was talking to Long Jack. He either came
across or wasn!t a friend; put the responsi-
bility on the boy.
Student: He worked on the child's interest too. The
child was definitely interested in fishing,
and when he caught the big fish, he was proud
of it. Manuel took the opportunity of throw-
ing the fish back in the water and showed
that he disapproved. That made the boy feel
that he was being definitely hurt.
Student: I think that Manuel said he was a fisherman,
and when he threw it back, it showed he didn't
think he was a fisherman any longer.
Student: One reason the boy liked him was because Man-
uel made him feel that he was worth something,
and when he called him a cheat and threw the
fish in, it made him begin to reason rather
than if he had said it wasn't the thing to do,
but we'll go on fishing anyway.
27
Student : The boy realized what Manuel was giving up
when he lost the bet.
Leader: Which had the most meaning to the child?
Student: He cared most about how Manuel felt about him
and having Manuel as a friend.
Leader: Would that have any effect on his feeling
about Manue 1 ?
Student: His background had been such that he hadn't
had a chance to admire a person. He re-
spected a man for certain qualities, and Man-
uel had those qualities, and through Manuel's
use of that admiration, he was able to con-
trol the boy.
Student: His relations with his father weren't as they
should have been, and he took to Manuel be-
cause he was friendly with him.
Student: What the boy really needed was friendship and
someone he could confide in.
Student: Responsibility had a lot to do with it be-
cause at home he didn't have to do anything.
When he did that trickery, he thought he was
doing right. When Manuel told him it wasn't,
it was a responsibility of not doing things
like that.
Leader: Why did he admire Manuel so much?
Student: Manuel had been the first one to show him the
difference between right and wrong, bring him
down to earth. I think a child wants that.
Student: Manuel showed him how to fish and none of the
others did.
Leader: Was it just the fishing?
Student: No. It took Manuel to show him that it hurt
a lot of people beside Long Jack and himself.
Student: Manuel said that he wanted him to go out
fishing with him, so he treated him like he
would treat other men. Made him feel like he
was somebody.
Student: In the beginning when he first got on board
after Manuel had saved him, Manuel was big
brother and took special interest in him
28
while the other men made fun of and ignored
him. Manuel stood up for him and it built up
his character. Anything to be like Manuel
was his main object in life.
Leader: This is again the point about the example of
the adult in the child's life.
Student: The fact that he treated him like an equal
meant much. He was the only one who had
treated him like that . He knew he was de-
pending on him.
Student: He was the type of child who took it that way,
Another child would have shown contempt . He
would have thought he didn't mean to, and let
it go or sulked about it .
Leader: When you say this, what are you really talk-
ing about ?
Student: That he wasn't a child — that he was equal to
a grownup.
Student: He had been lonely and wanted companionship.
He didn't have any real friends.
Student : He not only wanted companionship, but he
needed it .
Leader: Let's make a list of what you think the boy
needed.
General discussion summarized by student re-
corder as follows:
1. Being treated equal
2 . Companionship
5. Guidance
4. Responsibility
5. Encouragement
6. Confidence
7. Friendship
Leader: Why was it important for Manuel to make
friends with him again?
Student: If he hadn't made friends with him, Harvey
would have held some resentment toward Manuel.
He thought he had done this to make him win.
Student: He would feel inferior and ashamed of himself
and that Manuel was always looking down on
him. It took Manuel to get him away from this.
29
^CAPTAINS COURAGEOUS (race)
Metro-Goldwyn-Mayer 1937
Producer: Louis D. Lighten Director: Victor Fleming
443 ft., 12 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME: Two skippers in the Gloucester fishing fleet
are keen competitors for the honor of reaching home
first with a hold full of fish. The last stop of the
fleet is the Grand Banks. They both reach the Banks
together, and each skipper pushes his crew hard in or-
der to be able to get away first. The skipper of the
JENNY CUSHMAN tricks Skipper Disko of the WE'RE HERE,
and sails away with a good lead. Infuriated, Captain
Disko works his men without let-up to catch up to the
rival schooner.
The going gets heavy, but Captain Disko refuses to
lessen sail. They must push on. The JENNY CUSHMAN
takes a dangerous short-cut across the Banks. Captain
Disko decides to take an even shorter one. The two
schooners' paths cross. One or the other must give way.
Neither does so and the ships narrowly escape collision.
Captain Disko' s WE'RE HERE has now gained the lead.
His sailors have warned him of the danger to the boat.
The mainsail must be reefed, the weather is too danger-
ous. Two sailors go aloft to reef it, but the mainsheet
breaks under the terrific strain of the high wind
against the sail, the mainmast cracks and falls, fatally
injuring one of the sailors.
*> CAVALCADE
20th Century-Pox 1933
Producer: Winfield Sheehan Director: Frank Lloyd
481 ft., 13 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME; It is New Year's Eve in the Marryot home. Jane
and Robert Marryot have been happily married for ten
years. But what is the future to be? England is at
war with the Boers, and Robert must go t o Africa with
30
his regiment. Jane is sure that nothing really matters
except Robert's safety. She resents the war and thanks
God that her "boys are too young to be in it. She goes
to the boat to see Robert off, and returns to find the
children at home playing soldiers, and quarrelling
amongst themselves. Even the children are playing at
war! At last the news comes that Maf eking, the strate-
gic objective, has been relieved, and the war is over.
Robert comes home safe and sound.
Years pass. It is 1914, and the Marryots, mother,
father and son, are returning to England from the Con-
tinent. War is in the air. Troops are moving, trains
are held up, there is tension everywhere. War is de-
clared on Germany, and once again England calls for
men. Robert Marryot is eager to get back to the army,
and young Joey Marryot, in spite of the fact that he
says he likes the Germans, is full of enthusiastic
plans to join up. He turns to his mother and urges her
to drink with them to England, but Jane cannot do it.
"I'm not going to. I can't. ...Drink, Joey. You're
only a baby still, but you're old enough for war.
Drink as the Germans are drinking tonight -- to misery
and defeat and stupid tragic sorrow -- but don't ask me
to do it, please."
^CEILING ZERO (Payson)
Warner Brothers, A First National Production 1935
Producer: Harry Joe Brown Director: Howard Hawks
327 ft., 9 mins. running time Jr.H., H.S., Coll., Ad,
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME: The Federal Airlines office in Newark is try-
ing to contact one of their flyers — Eddie Payson in
Plane 3. They can get no reply. There seems no reason
for any difficulty. The weather is good, the last re-
port from Payson indicated no trouble with the plane.
One of the stations reports that their radio beam had
been out for a few minutes, but is back in working
order now. The Newark office calls Jake, the division
superintendent and continues to try to make contact
with Payson. Jake is worried. He has always been
afraid that Payson would not measure up in an emergency.
In the meantime Payson in Plane 3 is flying high in
thick clouds and doesn't realize that below the weather
is clear. He has lost the radio beam. He becomes rat-
tled and decides to bail out and let the plane crash.
He sends the mail down in a chute and comes downhimself .
31
The division superintendent gets news that Payson
is all right and that the mail is safe. When Payson
gets back, Jake tells him he is through. Eddie Payson
pleads for another chance. Jake knows that Payson has
spent years in preparation for this job, and that this
will ruin his career. But Jake has no choice. Ever
since Payson was a rookie all his reports were fine ex-
cept for the one line: "Reaction to emergency." The
report on this line was always a question mark. And
now he has answered that question, and cost the company
a forty-thousand-dollar plane besides. There is no
need to argue. Payson accepts Jake's decision.
^CEILING ZERO (Davis)
Warner Brothers, First National 1935
Producer: Harry Joe Brown Director: Howard Hawks
833 ft., 23 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Dizzy Davis, an old-time flyer, is coming to
take a job with Federal Airlines under his old friend
Jake. Because of his reputation for irresponsibility
both in a plane and out of one, the owners of the air-
line are not pleased that Jake has hired Davis, but
Jake insists that as one of the pioneer war flyers
Davis should be given a job. Dizzy lives up to his
name and reputation by making an illegal, spectacular
stunt landing at Newark. He assures everyone, however,
that he is turning over a new leaf, and intends to set-
tle down to straight flying. He is having some trouble
getting his license renewed because of heart trouble.
In the airport Dizzy meets Tommy, an attractive
girl flye-r, friend of another pilot. He finds his job
interfering with his dates with Tommy, and he fakes a
heart attack to get out of taking his run. Tex Clarke,
an old friend, taken in by Dizzy's "heart attack"
agrees to take the run for him. During the day weather
reports get worse and worse. A bad fog comes up, all
passenger traffic is called off, and Tex Clarke on
Dizzy' s run heads into some of the worst weather he has
ever hit. The tension in the office grows. Davis and
Tommy come to the office for news of Tex. But Tex's
radio has gone bad and the office cannot get through to
him. Apparently unmoved by his friend's danger, Dizzy
makes love to Tommy, and gets into a fight with her
friend in the office.
32
Meanwhile Tex, flying on the radio beam, approach-
es the air field. He loses the beam and tries to con-
tact the office for instructions. While the office is
trying to get through to Tex, this wife comes in, real-
izes that Tex is in serious trouble, and goes to pieces.
She turns on Dizzy: "It is all your fault. You got Tex
to take your place Just to have a date with Tommy."
Davis admits that this is so.
At last Tex picks up the lights of the air field
and tries to land blind. He comes in too low, crashes
the telephone wires. His plane bursts into flames. The
ambulance rushes out to pick up Tex, but in the air of-
fice the work continues. The radio operator returns
to his post. "Calling all stations. Texas Clarke in
Plane 9 has crashed in Newark. Continue standing by.
Re sume regular rout ine . "
^CRADLE SONG
Paramount 1933
Producer: E . Lloyd She Idon Directors : Mitchell Leisen
Mina Moise
423 ft., 12 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME: A girl baby is left on the steps of a Spanish
convent. Sister Theresa pleads with the Mother Superi-
or to let her keep the child and rear it . The convent
physician legally adopts the child and leaves her with
the nuns.
Sister Theresa is passionately devoted to the
child, and fears any influence which might take the
girl away from her. The other nuns warn Sister Theresa
that she is unwise, but she cannot believe them. She
thinks she is doing what is best for the child.
On the girl's 16th birthday her adopted father
brings her a dress from Madrid. The girl is delighted
with the gift. Sister Theresa cannot bear to see the
girl's pleasure in the dress, not only because Sister
Theresa did not make it, but also because it symbolizes
the outside world the lure of which she fears will call
the girl. Sister Theresa breaks down completely. The
doctor explains to the Mother Superior that Sister
Theresa is making the mistake many mothers make, of
trying to bind her child too closely to her, thus un-
consciously allowing her love to become possessive and
selfish.
33
STUDENT DISCUSSION: CRADLE SONG
(Part of a discussion by high.
school students in a suburb
of New York City)
Leader: Do you think it is human for them to fear new
fields, and that they should prefer their
children to try the fields that the parents
had tried out in advance?
Tom: I think the outside world was a total mystery
to her; she knew nothing about it, but I don't
think it was exactly fear to expect the child
to do the same thing as she did. It was more
a wanting to continue the old pleasant rela-
tion of close contact as long as she could.
Jim: I don't think it was because of being afraid.
It was knowing only one viewpoint, just as the
father situation the other day. Maybe they
thought that aviation or the outside world
were dangerous, but it was really that they
could not think of any other opinions. That
was their viewpoint about what they should do,
and they just couldn't see that there was any
other.
Tom: Would you say that they were intolerant?
Jim: I wouldn't say that they were intolerant, but
they just didn't think anything else was pos-
sible, and didn't realize that there were dif-
ferences of opinion.
Tom: But I think It is the fact that neither the
parents or the Sister could adopt any other
attitude, and they didn't want their children
to know of any other viewpoint, or think of
disagreeing with it.
Jim: I don't think it was a case of disagreeing.
It was just something that was built into them
from what was accepted in their generation and
their way of life, something they had always
thought of as a natural fact, as a truth that
could not be challenged.
Leader: The other day we brought up the question: how
did the father get that way. How did it get
built into Sister Joanna? How did she come by
that feeling? When Sister Marcella called her
selfish, I'd like to know whether you agree
with that or not. If so, how did she get to
the selfish state?
Sam: She probably hadn't lived many years of her
life outside the convent, and probably if she
had had a child of her own she would not have
over-exaggerated her natural motherly feel-
ings. She was too motherly, so that she be-
came possessive, and felt she must own the
child.
Dick: When the baby came she sort of pounced on it
to get rid of all her he Id- in affection, she
gave vent to a too tense affection, and she
became selfish by using the child, in a way,
for her own purposes. She felt that if the
girl went outside the convent she would grow
further apart from her, that she would lose
her. She wanted to keep her near, not only in
contact, but to also be sure that the child
would continue to have her same ideas and be
as much like her as possible. She could not
bear to let her go out and become different
from her. She had put so much of herself into
the girl that she seemed to be a part of her-
self. I can see that she would want to keep
the special love of the child.
frDEAD END (children)
United Artists 1937
Producer: Samuel Goldwyn
478 ft., 13 mins. running time
16 mm. sound.
Director: William Wyler
H.S., Coll., Ad.
RENTAL:
$6.00 for 2 weeks
8.00 for 6 weeks
$4.50 for 1 week
$12.00 for 15 weeks
20.00 for 30 weeks
RESUME; On New York's East River, fashionable apart-
ments have been built next to the worst slum areas. A
dead end street is used as a playground by the slum
children, and they swim and play there under the walls
of one of the most expensive apartments in the city.
Tommy, one of the gang, is eager to get out to
join his friends on the street. His sister Drina in-
sists that he wait until she has ironed his shirt.
Drina is out on strike and tries to explain to Tommy
why a strike is necessary. Tommy takes advantage of
Drina 's inattention to make his escape.
The gang is being watched by a well-dressed tough
who lounges at the river edge. He gives them some ad-
vice as to methods of beating up a rival gang. One of
the boys suggests his methods would not be fair.
35
"Fair? — Fancy talk," the gangster retorts, and pro-
ceeds to show them some knife tricks which might "be
useful.
The boys are waiting for one of the rich boys from
the neighboring apartment house. He comes out of the
From a discussion
Dolores: "But the way she talked to Judge Gris-
wold's brother -- couldn't he understand? He
must have been too close to his own way of life."
From the photoplay DEAD END. Courtesy United Artists
side door, and one of the gang approaches him with a
proposition to come and see their secret hide-out. The
rich lad is suspicious, but his curiosity gets the bet-
ter of him, and he follows them only to be set upon,
beaten, and to have his watch stolen. The boy's father,
infuriated by the gang's treatment of his son, tries to
catch some of them for questioning. Tommy is caught.
Panic-stricken, he uses his knife to slash the hands of
his captor, then escapes.
But Tommy's sister persuades him to surrender him-
self. With. the district policeman, Drina takes Tommy
to the man whom he had injured. She pleads for her
brother. The man insists that Tommy must be sent to
36
reform school — he must be taken from the gutter and
taught a useful trade. One of Tommy's friends tells
him to make friends with Smoky while he f s in reform
school. Smoky will be a useful friend, and teach him
lots of "swell rackets" which will be "useful" when
Tommy gets out.
*DEAD END (gangster)
United Artists 1937
Producer: Samuel Goldwyn Director: William Wyler
314 ft., 9 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME: Martin, a flashily dressed tough, hangs around
one of New York's dead end streets watching the slum
boys and making friends with them. He enjoys their ob-
vious admiration. Dave, a chap about Martin's age,
recognizes Martin as someone he had known years before
-- now become a famous gangster with a price on his
head. He calls Martin by name, and they get into con-
versation. It develops that Martin has come back to
New York from the west at great risk because he wants
to see his mother again, and his old girl, Francie.
Martin is obviously under tremendous nervous strain,
suspicious of his own shadow. He boasts to Dave about
his success. He tells of the swell things he learned
in reform school which enabled him to buy himself silk
shirts, expensive suits. He taunts Dave who has worked
for so long to become an architect and now cannot get
a job.
Martin meets Francie. They had been planning to
get married in the old days, but didn't have enough
money even for a license. Martin wants to marry and
take Francie away with him now. But she says she
wouldn't be good for him, that he now sees her as she
used to be. She steps into the sunlight and he sees
her as a broken, diseased person. He is shocked. It
is clear to Martin how she had kept herself alive dur-
ing the years since he had known her. He shrinks from
her. "Why didn't you starve first?" And she replies,
"Why didn't you?" As she walks away from him slowly he
makes no attempt to detain her.
Martin finds his mother, a broken and hopeless
woman, but she doesn't recognize him. He has had his
face fixed in an attempt to elude the police. When she
finally realizes that this is really her son Martin she,
says bitterly: "You no good tramp." "Mom, ain't you
37
glad to see me?'1 pleads Martin. In answer she strikes
him in the face, and says, "That's how glad I am. You
dog, get out of here." "I ki'lled a guy once," says
Martin to his mother, "for looking at me that way." And
his mother replies, "You're a killer all right. You're
a murderer, a butcher. You never "brought nothing but
trouble. Just stay away and leave us alone — to die,
but leave us alone." She turns from him, and he walks
away slowly.
DEVIL IS A SISSY (gang)
Metro-Goldwyn-Mayer 1936
Producer: Frank Davis Director: W.S. Van Dyke
453 ft., 13 mins. running time Jr.H., H.S., Coll., Ad.
16 mm. sound
RENTAL:
.50 for 1 week
$6.00 for 2 weeks
8.00 for 6 weeks
$12.00 for 15 weeks
20.00 for 30 weeks
RESUME : Claude Pierce, about 9 years old, comes from a
private school in England to New York's east side, and
attends a public school. His first day in school is
difficult. The other boys will not accept him because
his dress and speech are different. Claude confides in
his father how much he wants the boys to like him. His
father buys him a football so that he can practice the
game and play with the boys.
Claude plays with Gig and Buck, two school-fellows
whose friendship Claude particularly wants. The three
play with his football and break a window at school.
The principal puts the blame on Gig and Buck, express-
ing surprise that Claude would have a part in such an
escapade. Claude thinks he will make himself liked by
taking the blame. The other boys, however, reject
Claude for squealing, even on himself. They take his
football, but refuse to allow him in their games.
Claude learns how to box, and takes on Buck who is
much bigger than he. He knocks Buck down. A cop
breaks up the fight, and Claude refuses to tell which
boy gave him his black eye. Claude is admitted to the
boys' gang and to their hideout.
At home, Claude shows off his black eye to his
father. He finds out his father is broke and is de-
lighted that now he is poor like Gig and Buck, and can
wear corduroy pants like the other fellows.
38
DEVIL IS A SISSY (electrocution)
Metro-Goldwyn-Mayer 1936
Producer: Frank Davis Director: W.S. Van Dyke
289 ft., 8 mins. running time Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME; In the classroom of a public school on New
York's east side the roll is being called. Gig, one of
the pupils, is absent, and it develops that his father
is in the penitentiary condemned to the electric chair.
The electrocution is to take place that night at twelve.
As the time for the electrocution approaches, Gig
is at home where well-meaning friends and the priest
come to comfort his mother. He leaves the apartment
with his friend Buck, and stands with him under the
street light in front of his home. He speaks proudly
of his father — he was a "tough guy" who wouldn't
squeal -- they never would have got him if another mug
hadn't squealed on him.
The hour strikes. Gig, realizing that his father
is now dying, goes through an emotional paroxysm. He
recovers his calm and goes indoors. Hearing his mother
crying he tries to comfort her, and tells her that he
will look after her now.
The next day going to school, Gig boasts to Buck
about his f ather. . . .how tough he was, and how many
volts it had taken to kill him. Another spasm of feel-
ing shows in his face, and he begins to whistle non-
chalantly.
DEVIL IS A SISSY (juvenile court)
Metro-Goldwyn-Mayer 1936
Producer: Frank Davis Director: W*S. Van Dyke
567 ft., 16 mins. running time Jr .H., H.S., Coll., Ad.
16 rnm. sound
RENTAL: §5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: Three boys, Claude, Gig and Buck, who live in
New York's east side, need money. Gig's father has
been electrocuted, and Gig wants to buy a tombstone for
the grave. They have "been trying to get the money to-
gether by stealing tires, without much success, and
Claude finally suggests that they steal expensive toys
from some rich home, and pawn them.
Plans are made. They "break into a house. Claude,
playing the part of "Raffles", leads the expedition.
They take as many toys as they can carry. As they
leave the pawnshop after selling the toys, they are
seen by the neighborhood policeman who suspects some-
thing is wrong. Their parents are served with notices
to bring the children into court for investigation.
Claude announces to his father that he cannot
"squeal", but assures him he has done nothing of which
he is ashamed. His father is puzzled, but suspends
judgment awaiting the facts. Buck's father takes a
strap and is ready to beat Buck to get the truth when
his mother intervenes. Gig's widowed mother is dis-
tracted and can't get Gig to talk.
As they sit in court waiting for their cases to be
called, they hear the judge make an example of a boy
who has been a repeated offender by sending him to re-
form school. In private chambers the judge tries by
friendly methods to get the three boys to tell their
story. The boys refuse to tell. Buck's father offers
to get the facts by beating his boy. The judge puts
the father in his place by saying that undoubtedly the
parents are at fault for what has been done. The judge
assumes that Gig and Buck are the offenders, and final-
ly threatens them with reform school. Then Claude, who
has been wanting to talk, confesses that the plan was
his. He had taken his friends to his mother's house
and had stolen his own toys. He was being "Raffles" and
robbing the rich to give to the poor. Gig and Buck are
disgusted with Claude for putting something over on
them. Gig and Buck are put on probation because they
had thought they were really stealing.
STUDENT DISCUSSION: DEVIL IS A SISSY (juvenile court)
(Part of a discussion by a group of
high school student s in the Harlem
section of New York City)
Boy: I think the young boy of fourteen or fifteen
starts out in life like that, say in this area in
Harlem, poor; he sees something he likes and his
parents can't give it to him; he can't get a job
and his only alternative is to steal it, and if
he wants it bad he will do anything to get it.
Boy: Well, it seems to me if the parents had a better
understanding of the children
40
Boy: In this case I don't think It was that. It was
Just that they wanted to steal.
Boy: You think that gangs are composed of boys that
are naturally bad?
Boy : No .
Boy: Then why are gangs organized?
Boy: Well, for a form of recreation; they get together
and shoot dice, and play in a clubhouse. Big
gangs all started out when they were children;
they began going around together shooting dice,
and some of them make money on it, and they see
how easy it is to get it, and they want more
money, then they want clothes, and then a car,
and so they organize in a bigger way, and say
they can get what they want that way. They or-
ganize; they all stick together, and yet they
don't trust each other because each one knows
each is a thief or murderer or whatever they are.
But when they first start off I don't think they
really mean to become what they do. But they
want so many things that they can't have, and
when they start to get some things this way, why
they just go on and try to get more.
Boy: But the penalty, they don't understand what that
can mean--they don't understand it — it is usual-
ly lack of education, but they feel everyone is
all against them, the whole world, when they
can't have anything they want, and they see they
have to fight for anything they want — like the
father saying over and over how he had to fight
in the war, going over the top, and he wanted to
treat the boy in the same way — beating the boy
all the time, and the kid sees he must fight in
life for everything.
Boy: Doesn't giving a beating make the boy hate his
father?
Boy: You do it over again just to spite the father.
And just like pride, it is really selfish, you
hide behind it; it is really an escape to get out
of something.
Boy: Well, take the boys around my block — the older
boys, they're sort of their ideal of the block;
they dress flashily and smoke and such things,
and we smaller kids figure we'd like to be like
them, and so I started to smoke too to be like
them. My father caught me and whipped me. After
41
a while when I grew older I happened to realize
they were just a "bunch of fools. But many of the
kids on our "block, they took after the older
kids. So I say the example of the older fellows
makes them that way. They think they can become
successful gang leaders and admired like the
others. They1 re not naturally criminal-minded,
"but under the influence of the tough guys in the
neighborhood they're led to it.
Boy: Then it's not human nature?
Boy: I won't say for sure. I don't think anyone is
inclined to "be bad. It's mostly due to the in-
fluence around them and the environment.
Boy: I agree with him. They're not really born bad.
It's from bad company, that's all. They start in
that way at first. They see the other boys get
away with it and think they can too.
Boy: But suppose that in time the slums will be re-
moved--! suppose they will be--suppose in fifty
years the slums will be removed. Do you think
there will be as big a crime wave as there is
now? It will be in some way lessened, I believe
— but it will take a long time before people get
it out of them. The children now under bad in-
fluence will be grown up then and they' 11 be do-
ing the things they're learning now, and so on
with the ones that are children during say the
next fifty years. They learned bad things and
they will have money, and the kids figure it pays
to steal, and sometimes they have to do it, and
they influence their children, and in that way I
think it will take a long time even if the slums
will be removed before crime will become as rare
as--well, it will be like a disease and will be
treated as such, whereas now it isn't. It's more
or less such an epidemic of crimes — that's what
crime is; that's bad*
*>DODSWQRTH
United Artists 1936
Producer: Samuel Goldwyn Director: William Wyler
328 ft., 9 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME : Sam Dodsworth, retired American auto manufac-
turer, is on an ocean liner with Fran his attractive
wife. For him it is the chance of a lifetime to enjoy
a new life with her. For her, after years of married
life in a small town, it is an opportunity to prove to
herself that she is a woman of the world.
Fran undertakes a flirtation with a sophisticated
young English captain whom she .mee^ts the first night
out. While Sam carries on friendly conversations with
an American woman, Fran engages in her flirtation with
Captain Lockert . While Sam is getting healthy excite-
ment out of his first glimpse of the English coast,
Fran is bored with everything except the expert flat-
tery of the Captain. Yet when the Captain on the last
night of the voyage proposes to make love to her, she
feels she has "been insulted and tries to order him out
of her cabin. He counters that she is no woman of the
world at all, that any schoolgirl could have handled a
man with more skill. He advises that in future she
give up starting things she is not prepared to finish.
Just as the Captain is leaving the cabin Sam appears,
bids him a friendly goodnight, and comments to his wife
that Lockert is a nice fellow.
^EDUCATING FATHER
20th Century-Fox 1936
Associate Producer : Max Golden Director : James Tinling
171 ft., 5 mins. running time Jr.H., H.S., Coll., Ad.
16 mm. sound.
RENTAL: $4.00 for 1 week
$5.00 for 2 weeks $8.00 for 15 weeks
6.00 for 6 weeks 12.00 for 30 weeks
RESUME: Jack Jones is giving the valedictory address
at the Maryville Higft School commencement. His family
sits proudly in the audience. After the commencement
exercises, the family goes home for a celebration.
Mr. Jones presents Jack with a watch, and tells him
that so far he has justified all the family hopes.
Mr. Jones tells Jack that arrangements are all
made for his studying at the School of Pharmacy. Jack
replies that he isn't interested in pharmacy — his
choice is aviation. His father insists that Jack at
least go into a profession. Jack points out that all
professions are overcrowded, and there is more oppor-
tunity in aviation. His father speaks of the dangers
in flying. They quarrel, and Jack leaves the room
angrily.
43
From a discussion
Luther: "Fathers try to use their son's lives to
make out the weaknesses in their own. But sons
don't understand how to talk to their own fathers."
From the photoplay
EDUCATING FATHER.
Courtesy 20th
Century-Fox.
Mr. Jones mutters to himself that when he was a
child he obeyed his father. Mr. Jones' mother stands
up for her grandson, pointing out to Mr. Jones that
when his father had wanted him to stay home and farm,
he had run away to be a druggist. Mr. Jones tries to
justify himself by saying that he couldn't see any
future in farming and wanted to progress. "Perhaps
Jack can't see any future in pharmacy," retorts his
grandmother.
A FAMILY AFFAIR
Metro-Goldwyn-Mayer 1937
Producers: Lucien Hubbard, Samuel Marx
Director: George B. Seitz
683 ft., 19 mins. running time
16 mm. sound
H.S., Coll., Ad,
44
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Judge Hardy of Carvel grants a temporary re-
straining order preventing the start of construction on
an aqueduct that would draw upon Carvel's water supply.
He is under pressure from the townspeople to withdraw
this injunction, for they see the immediate prospect of
jobs and money for the town.
Marian Hardy has just arrived home from college.
She has met Wayne Trent on the train, and in the course
of the journey west these two have fallen in love.
Marian is very anxious that Wayne make a good first
impression on her family. Wayne arrives to call, and
the Hardy family — Judge Hardy, Mrs. Hardy, an aunt,
the older sister, and young Andy — all gather around
to look the young man over. It is a nerve-racking ex-
perience, but Wayne makes out very well. It develops
that he is an engineer for the new aqueduct.
In the meantime young Andy has to attend a party.
He despises girls and hates parties, but his mother has
promised he would attend with the daughter of a family
friend. Andy, however, is surprised and delighted to
find the girl very attractive, and plans to monopolize
her time.
Next morning at breakfast Andy comes down late.
Quizzed about the party he admits his girl was swell,
announces a date to ride in her new V8 that day. Judge
Hardy, reading the paper, finds news that he is to be
Impeached. He conceals the paper, leaves hastily and
passes hostile neighbors on his way to court. His cam-
paign manager warns him that his proposed suit against
the newspaper would be political suicide, but the Judge
sticks to his decision.
Andy's girl refuses to go riding with him because
her father, angry with Judge Hardy, has told her not to
go with Andy. Both Andy and Marian come to their
father. Andy asks for facts about the injunction. To
Andy the Judge gives a book from his desk, and marking
a particular passage, assures him that a careful study
will clear up the Judge's position. Marian, however,
is more resentful. The Judge cannot persuade her that
there is anything to be said for his position. She
only sees the fact that her young man will have to
leave Carvel to find work elsewhere, and that she may
lose him. She calls her father "an old fogey" and
storms out of the room.
DAUGHTERS
Warner Brothers 1938
Producer: Benjamin Glaser Director: Michael Curtiz
45
731 ft., 20 mlns. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; The Professor, his four daughters, Aunt Etta
and Felix are having a picnic in gay, holiday mood.
Felix and Ann, the youngest daughter, are in love.
Felix is working on a musical composition to "be entered
in a $5000 contest. He has asked Mickey Borden to come
and help orchestrate his composition.
Mickey turns up one morning just as Felix is leav-
ing for the conservatory. Untidy and sardonic, he
satirizes the wrugs on the floor, the smell of cooking
in the kitchen." He is late because, having lost his
fare on an unlucky bet, he had thumbed his way up,
holding out for town cars with chauffeurs -- "a poor
manT s privilege." Felix suggests that he get a room
in town, and Mickey casually agrees, mentioning that he
had been evicted from his room in New York that very
morning.
Felix turns his score over to Mickey and asks him
to introduce himself to the family as they come in.
Absorbed in his musical problem, Mickey ignores Aunt
Etta's friendly advances, but eventually accepts her
offer of a cup of tea, reminding her that after all tea
is only hot water, nothing to feel noble about. When
Ann comes home, Mickey is playing one of his own com-
positions. Ann ventures the hope that he won't enter
it in the contest, because they all want Felix to win.
Mickey tells her that he can never win anything. "The
Fates, the Destinies, or whoever they are, won't stand
for my winning." He develops his theme bitterly, say-
ing that They (the Fates) have been against him from
the beginning and will never permit him to win anything.
Although she is confused and angered by his ego-
tism and heroics, Ann takes an interest in Mickey. She
gets him to improve his appearance and puts up curtains
in his room. She wants him to finish his composition,
but he remains convinced that Fate will defeat him. He
responds to these attentions, however, and finds him-
self falling in love with Ann.
At the Professor's birthday party, Mickey is
touched because Ann has bought a present for him to
give her father. She has also bought a present for
Mickey. Felix and Ann announce their engagement at the
party.
46
Ann finds Mickey on a park bench, sunk in his for-
mer gloom. When she tries to rouse him, he curses the
Fates for taking him out of the gutter, giving him a
look at some real people, letting Ann get a half -nelson
on his heart, and then throwing him back into the
gutter.
*>FURY (lynching)
Me tro-Goldwyn- Mayer 1936
Producer: Joseph L. Mankiewicz Director: Fritz Lang
602 ft., 17 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: Joe Wilson, driving West to get married, is
taken into custody at a small town near his destination
under suspicion of kidnapping. The evidence against
him is purely circumstantial, but he is being held un-
til the District Attorney can check up on his story.
News of the arrest leaks out into the little town,
and the story goes from person to person, gaining new
details at every telling. The people became aroused —
they want to teach this "kidnapper" a lesson he won't
ever forget. The sheriff tries to control the mob, but
it gets beyond him. The mob rushes the jail in an at-
tempt to get the prisoner. Foiled, they set fire to
the building and burn their victim who is trapped inside
^FURY (governor)
Metro-Go Idwyn-Mayer 1936
Producer: Joseph L. Mankiewicz Director: Fritz Lang
604 ft., 17 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: Joe Wilson, driving West to get married, is
taken into custody at a small town near his destination
under suspicion of kidnapping. The evidence against
him is circumstantial but he is being held until the
District Attorney can check up on his story. News of
the arrest leaks out into the little town, and the
story goes from person to person, gaining new details
at every telling. The people become aroused — they
want to teach this kidnapper a lesson he won't forget.
47
Realizing the temper of the townspeople, the sher-
iff telephones the Governor for help, and is promised
the State Militia. The State political boss, however,
persuades the Governor that he has been foolishly dis-
turbed, that in an election year one has to be careful
about "butting in," and the Militia is ordered to with-
draw. Meanwhile the Sheriff tries to keep the mob at
bay, but they break through the deputies, batter the
jail door down, set fire to the building and burn their
victim who is trapped inside.
The papers are full of the story of the lynching of
a man who has since been proved entirely innocent of the
kidnapping, and the Governor realizes that had the Mili-
tia been sent, the man could have been saved. The boss
reads the Governor wires congratulating him on his ac-
tion but he says, "What will they say when they find
out he was innocent?"
FURY (trial)
Metro -Go Idwyn-Mayer 1936
Producer: Joseph L. Mankiewicz Director: Fritz Lang
514 ft., 14 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME ; A crowd of men, women and children stand fas-
cinated watching a jail in flames. A trapped man, Joe
Wilson, appears at a flaming window. A girl faints.
She is his fiancee. Newspaper headlines announce that
an innocent man has been lynched.
Joe Wilson's brothers get the District Attorney to
prosecute the guilty townspeople. But by mutual consent
the whole town decides to stick together and swear igno-
rance of the whole affair. The District Attorney cannot
even get anyone to admit that Joe Wilson was in the jail
at the time of the lynching. He is determined to inves-
tigate the case in spite of threats from the State polit-
ical boss.
Eventually 22 citizens are brought to trial. Wit-
nesses from the town are called, but without exception
they hold to their stories that the people on trial
were not at the scene of the fire. The District Attorney,
however, is able to prove by means of newsreel pictures
taken at the time of the lynching, that each indicted
person was there and had participated actively in the
burning of the jail.
48
Defense attorneys claim the State has not proved
that Wilson was actually in the jail at the time it
burned. His fiancee testifies she saw him at the win-
dow but defense attorneys insist that some part of the
body or something known to have been worn by the de-
ceased has to be presented in evidence. A ring is in-
troduced by the prosecution; it is blackened and
burned. Wilson's fiancee identifies it as a ring she
had given Wilson, and one of the women on trial, hear-
ing that they were to be married and unable to bear the
young girl!s suffering, breaks down, confessing hysteri-
cally to the guilt of all of them.
THE GOOD EARTH (woman)
Metro-Goldwyn-Mayer 1937
Associate Producer: Albert Lewin Director: Sidney
Franklin
651 Ft., 18 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME ; Wang, a poor Chinese farmer, goes to the Great
House to get his bride, Olan, one of the kitchen slaves
who had been sold for food during a famine. He has
never seen her, and hopes that she will not be too
ugly. His father reminds him that to a poor peasant, a
woman's looks are unimportant, she must be able to work
and to bear many children who can work.
Wang and Olan are married, and together they work
the land of his ancestors. She does much of the hard
labor in the fields, as well as all the household tasks.
It is harvest time when her first baby is expected, and
Olan goes to the fields to help save as much of the crop
as possible from a sudden storm. When she can work no
longer, Wang takes her to the hut, and Olan has her baby
unattended. Wang, returning from the fields, hears he
has a man-child, and his face is wreathed in smiles.
The grandfather remarks that if it were not undignified
he would tell Olan that she was a good wife. Wang goes
to inspect his child, and grunts and giggles with delight
Olan, from the corner of the room, smiles at his pleasure
GOOD EARTH (famine)
Metro-Goldwyn-Mayer 1937
Associated Producer: Albert Lewin
Director: Sidney Franklin
470 ft., 13 mins. running time H.S., Coll., Ad.
16 mm. sound
49
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 50 weeks
RESUME: The slow ravages of famine in China bring a
whole village to desperation. Wang and his family re-
sist every temptation to sell their land for food, and
finally leave for the South, hoping to get work and
food in the big city.
But conditions there are even worse. No work can
be found. They beg whatever they can, and are finally
driven to stealing food. Wang is in despair, but at
last manages to get work hauling heavy loads — doing
the work of an animal.
Troops come to the city. The workers hauling
their loads ask each other what this can mean. One sug-
gests it means Revolution. Wang wishes to know what
Revolution is. His companion replies he is not sure,
but that he thinks it has something to do with food.
THE GOOD EARTH (locusts)
Metro-Go Idwyn-Mayer 1937
Associate Producer: Albert Lewin
Director: Sidney Franklin
489 ft., 14 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : A locust plague threatens Wang's rich fields.
His household is a large one. There are many people
dependent upon him. His uncle wails that he had pre-
dicted a plague of locusts — "and what can we do against
the gods?" But Wang's young son is sure that something
can be done. He tells his father that in school he had
been taught that man is the earth's slave or its master.
Experience has taught them where the locusts will settle.
They must fight them with fire and water and concerted
effort. Wang's uncle insists that all such efforts
must fail, but Wang decides to take his oon's advice.
He offers to share whatever of his fields are saved with
all who will help dispel the locust horde which is com-
ing over the hill.
The group of farmers get to work with spades. They
dig trenches and fill them with water. They soak some
of the crops with kerosene and set fire to them. Women
and children join the work. The noise of the locust
50
swarms comes closer and closer. The air gets black
with insects. They work faster, Wang's uncle in the
background bewailing their ill-luck. The locusts alight
and begin their work of destruction. The swarms are
so thick that some workers are almost smothered in them.
The men feed the fires with hay from the barns. The
uncle sits in the background still bewailing the dis-
aster. The workers dig the locusts out of the trenches
which are choked with them. They try to kill the in-
sects with flails.
Then suddenly the wind changes and the locusts are
carried over the hill in another direction. Many of the
crops have been saved. The uncle, having done nothing
to help, starts to cry: "Victory, Victory I"
Wang is proud of his son, but there is no time to
be wasted. The fields must be cleared, there is much
work to be done.
AND RUN DRIVER
A Metro -Go Idwyn-Mayer Short Subject 1935
From the CRIME DOES NOT PAY Series
268 ft., 7 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME ; A young couple are walking home on one of the
larger motor highways. They keep well to the side of
the road, out of the path of possible cars. It is
late at night and the road is deserted. A car, being
driven at tremendous speed, rounds a curve. The driver
sees the pedestrians too late, tries to swerve aside,
but runs them down. A terrified young driver sees the
bodies lying on the roadside, and drives away. In the
course of time the police come to the scene, and begin
to trace the suspect.
The police question the young man. He denies all
connection with the accident and gives excuses to cover
any suspicious facts. Shown pictures of the victims
before and after the crash, he wavers, but still will
not admit anything.
The police take him to the hospital in the hope of
possible identification by one of the victims. Arriving
there, the surgeon tells them that there is no hope for
the boy victim, and that the girl, if she should recover,
51
will be blind for life. He states that both lives could
have been saved if they had been hospitalized immediately
after the accident.
The suspect, confronted with the results of what
he had done, breaks down and admits everything. He con-
fesses to the police that it had been an accident. He
had never meant to harm these two innocent people, but
after it had happened fear drove him to cover his tracks
and try to escape punishment. He begs them to try to
understand his side of the case.
>! AM A FUGITIVE FROM A CHAIN GANG (chain gang)
Warner Brothers 1932
Producer: Mervyn LeRoy Director: Mervyn LeRoy
493 ft., 14 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : Two men are holding up a lunch counter. They
take the money from the cash register and rip out the
telephone. They are about to make a getaway when the
police rush in, shooting one man and arresting the other.
The arrested man is James Allen. He is sentenced
to 10 years at hard labor on the chain gang. The rap-
ping of the judge's gavel gives way to the hammering of
an anvil. Chains are being attached to Allen's feet in
the smithy of the prison camp.
The prisoners are awakened at 4:00 a.m. Guards
free them of the long chain which secures them to their
cots during the night. Everyone except Allen staggers
up. He lingers in bed, and the guard hurls a section
of chain in his face. ' "That'll teach you," he declares.
At breakfast, Allen is revolted by the fried dough on
his tin plate. One of the old inmates, seeing him push
the food away, advises him to learn to like it, "because
that!s what you're going to get every day, every year."
The prisoners are herded to work on trucks where
they are chained into place. In the quarry they heave
picks under the supervision of guards with whips and
guns. Once Allen pauses. A guard hits him down. "But
I was only wiping the sweat off." "You got to ask their
permission to wipe it off," a fellow prisoner explains.
A sick prisoner faints under the strain of the labor and
the goading of the guards. He is revived by a pail of
cold water in the face. At nightfall the prisoners are
returned to camp. The warden makes his nightly round to
find out which one of the fellows "didn't give us a
good day's work." The sick man is singled out, and
the warden flourishes his whip. Allen mutters,
"Skunk," and is ordered to the whipping post instead.
It is Sunday. The prisoners watch through the
window as one of their comrades is released. He hob-
bles stiffly across the courtyard, finding it strange
to walk without his chains. A pine coffin is loaded
onto a truck. "Red's leaving today, too.... There are
only two ways to get out of here — work out, or die
out," one of the prisoners comments.
The truck stops to give the released .convict a
ride to town. He climbs onto the back. of the truck,
sits on the coffin, and striking a match against it,
lights a cigarette.
I AM A FUGITIVE FROM A CHAIN GANG (Pardon Board)
Warner Brothers 1932
Producer: Mervyn LeRoy Director: Mervyn LeRoy
734 ft., 20 mins. running time U.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : Allen James, a successful Chicago engineer, is
being interviewed in his office by leading merchants of
the city. They want him to address their next meeting.
As he accepts the honor, two detectives force their way
into the office and place him under arrest.
Six years earlier Allen was operating a steam-
shovel. He was laid off. Work was scarce and he tramped
the countryside looking for jobs. Pete, a chance ac-
quaintance in a flophouse, offered to show Allen a
joint where they could get a couple of free hamburgers.
In the lunchwagon Pete, at the point of a gun, forced
Allen to be his accomplice in holding up the cash regis-
ter. The cops happened in, shot Pete, and took in Allen
who, because the money was on him, was convicted to ten
years at hard labor on the chain gang. After a time,
Allen was able to escape, and when the law finally caught
up with him, he had become an esteemed citizen of Chicago,
Public opinion backs Allen in the extradition pro-
ceedings. The state which convicted him appeals to the
principle of state's rights, and promises that if Allen
returns to prison he will be pardoned after 60 days of
53
clerical work. Against the advice of his attorney, and
after consulting his fiancee, Allen returns voluntarily
to clear himself once for all.
Back in the south, Allen finds that instead of be-
ing given clerical work, he is thrust back into the chain
gang, where the guards are threatened with the loss of
their Jobs if he escapes again. At the expiration of
his 60 days the pardon is postponed a year. Allen is
incredulous and despairing. "The state's crimes are worse
than mine — worse than anyone1 s. Their promises didn't
mean a thing." His brother convinces him that he must
be a model prisoner for a year while his friends work
night and day to bring about his pardon.
At the end of the year his case is presented again
to the pardon board. Again the pardon is refused. Allen
makes another escape from the chain gang. Months pass,
and no one has heard of Allen. One night as his fiancee
puts her car away, Allen creeps out of the dark to see
her. She questions him hysterically: "Why haven't you
come before?" "I was afraid to.n He is a hunted man,
hiding by day, traveling by nigjat, abandoning jobs when-
ever he fears detection. A noise startles him as they
talk. "Do you need money, Jim?", she cries after him as
he retreats. He shakes his head. "But you must, Jim.
How do you live?" Disappearing into the darkness, he
calls back: "I steal."
IF I HAD A MILLION
Paramount 1932
Producer: Louis D. Lighten Director: Norman McLeod
366 ft., 10 mlns. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME; An eccentric millionaire decides to cheat his
greedy relatives of inheritance by giving his money away
to strangers In amounts of $1,000,000. He takes a direc
tory and drops ink onto a page. The name indicated by
the blot is Samuel Peabody.
Peabody is a clerk in a china shop. He has been
promoted from the bookkeeping department, and given a
raise. The increase, however, proves to be entirely
mythical because Peabody is charged for breakage, and be
ing a very nervous, timid person, he is constantly break
ing things.
54
He brings his weekly pay-check home to his wife.
As soon as Peabody opens his front door, his wife rushes
to meet him, takes his coat and hat and starts talking
at him. It is evident that Peabody has learned never to
listen to his wife. He tries to read his paper, but her
voice drones on and on. He escapes to the bathroom with
his paper, and locks the door. At bedtime that evening
Mrs. Peabody is still at it. She reproves him for his
carelessness with the china, upbraids him for his small
earnings. Peabody finally goes off to sleep only to
dream that he falls and breaks all the china in his shop.
After breakfast the following morning, Peabody
leaves the house, closing the door firmly on his still
talking wife. As he goes down the path a stranger ap-
proaches. Peabody at first thinks he is the collector
for his piano payment and explains that he used the money
as part payment for a beautiful white rabbit which he
covets. The stranger says that he is not a collector,
but that he has a check for Peabody for one million
dollars.
In the china shop, the proprietor and clerks are
waiting for Peabody. It is very late. The proprietor
is angry and the clerks very nervous. At last Peabody
arrives — dressed in faultless morning clothes, leading
a white rabbit on a leash. He greets the clerks and
proprietor nonchalantly, and to their horror sets about
systematically breaking all the china within his reach.
He gleefully directs the clerks to keep track of the cost.
He is not satisfied until the place is a shambles. With
a final flick of his cane he finishes off a figure, which
in his dream had been his wife, waves a cheery good-bye
to the frozen attendants, and exits.
STUDENT DISCUSSION; IP I HAD A MILLION
(Part of a discussion by high school stu-
dents in a Chicago private school)
Leader: Do you have anything to say about the dream?
Ann; I felt in the dream at the office he was always
haunted by breaking china, and the minute he
got home his wife bawled him out and even in his
sleeping hours he couldn't get away from it.
Leader: Was that a good response that he made when he
went to break up all the china? Was that a
desirable way of behaving under the circum-
stances?
Ann : Ye s .
55
Boyd: I think that sort of constituted a breaking
of an old obsession, this obsession that
always possessed him. He was very afraid of
it and when he got t«he money, here he had a
new type of security and his only revenge on
his old obsession was to smash everything
that created it.
Bob: His life had been based on china. Now since
his whole life wasn't as fragile as that, I
wonder if he continued to be concerned with
it or if his life will take a different course?
Leader: Will he be free from the china now? Well,
what about that? I am surprised that you all
assume that the breaking china was a desirable
way to behave.
Joe: It is understandable; we wouldn't say it is
satisfactory. We could see why he would do
it.
John: The rabbits seem to be the only part of his
life that isn't an eternal nightmare.
Leader: I wonder if we can be too literal about the
china? Could it symbolize other things in
life that we may feel like smashing or fight-
ing against?
Susan: The china and the wife were alike; they were
both restrictions on him.
INFORMER
R.K.O. -Radio 1935
Associate Producer: Cliff Reid Director: John Ford
490 ft., 14 mins. running time H.S., Coll
16 mm. sound
Ad,
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Gypo is a poor, simple Irishman, without job or
prospects. He is unable to earn enough money to keep
his woman off the streets, where she goes to get enough
money for food and clothing. She reproaches Gypo with
his poverty. If they only had ten pounds each they could
get away to America. "Twenty pounds and the world is
ours."
56
An old friend of Gypo's, Frankie McPhillp, is a
political fugitive. There is a reward of twenty pounds
on his head. Unexpectedly Gypo meets Frankie that
night in the city. Frankie has sneaked in under cover
of the fog to see his mother and sister.
Gypo, hounded by his need for that twenty pounds,
goes to British headquarters and informs on Frankie ' s
whereabouts. Frankie is killed trying to escape.
Gypo gets his twenty pounds reward, and slinks out of
headquarters into the fog haunted by the face of his
comrade.
MATERNELLE
Studios Photosonor 1935
Distributed by:
French Motion Picture Corp.
Directors: Jean Benoit-
Levy, Marie Epstein
801 ft., 22 mins. running time
16 mm. sound
H.S., Coll., Ad.
RENTAL:
RESUME :
$7.00 for 2 weeks
10.00 for 6 weeks
$5.00 for 1 week
$17.00 for 15 weeks
28.00 for 30 weeks
(DIALOGUE IN FRENCH. . .ENGLISH TITLES)
To a nursery school in a poor section of Paris comes
well-educated Rose, formerly a wealthy girl, now poor,
to work as a maid. Madame Poulin, the chief maid warns
her that she must really love children to do the work ex-
pected of her. It is clear that she does.
Marie Coeuret, a six year old, is greatly in need
of affection. Her mother is a street walker who neglects
Marie. The child immediately attaches herself to Rose
who responds warmly to the children. Marie makes ex-
cuses to get attention from Rose and is jealous of other
children who are cared for by Rose. Mme . Poulin warns
Rose that the child is "queer" and tells Rose her mother's
background. Rose responds that Marie is a child... like
all others.
Marie and her mother are walking along the street
when the mother meets a man acquaintance. She sends
Marie home and disappears with the man. In the morning,
at school, the Directress tells Marie's teacher the
mother has run off with a man who is wanted by the po-
lice. Marie is questioned in an effort to locate the
mother.
57
Rose takes Marie home and discovers that there is
no one to care for her so she takes the child to her own
quarters. This is a breach of the rules, and so when
it is discovered the next day Rose is called "before the
Directress and the Doctor in charge. Rose protests
that someone must care for the child and that affection
is the most important thing in a child's life.
The Doctor falls in love with Rose and she agrees
to marry him. They go off together excitedly, momen-
tarily forgetting Marie. She wanders to the edge of the
docks. In a short time Marie is returned to the school
drenched and half drowned. Madame Poulin sends for the
Doctor. He says the child is all right and starts to
return to Rose. Mme(. Poulin stops him saying that he
is responsible for the child1 s attempted drowning. She
insists that this is the second time a man has taken
away the person who was caring for Marie and that Marie
tried. to drown herself because of her loneliness and
despair. Rose returns to the school to see what the
trouble is. Marie flies into her arms. Rose and the
Doctor agree that Marie must come with them and be their
child.
STUDENT DISCUSSION: LA MATERNELLE
(Part of a discussion by high school students
in a Chicago private school)
Leader: Can we relate this at all to the discussion we
have had 'in the past on needs? Do any of those
issues that were raised in connection with the
basic needs of people come in here?
Jean: She had no sense of belonging to any one; I
mean, when her mother deserted her she turned
to Rose for a feeling of belonging.
John: I don't see how we can say that about Marie
in particular. From the view we had of all
the other children, none of them had any sense
of belonging to somebody .. .like the little
fellow at the garbage can.
Mary: All the other children had a home and family.
This one girl was all alone.
Frank: There seemed to be a definite need for love
and a family life.
Sue: All kids need that.
Mary: Everybody; not only children.
58
LAST OF THE PAGANS (marriage)
Metro-Go'ldwyn-Mayer 1935
Producer: Philip Goldstone
492 ft., 14 mins. running time
16 mm. sound
Director: Richard Thorpe
H.S., Coll., Ad.
RENTAL:
$7.00 for 2 weeks
10.00 for 6 weeks
$5.00 for 1 week
$17.00 for 15 weeks
28.00 for 30 weeks
RESUME: A group of men from an Island in French
Polynesia are on a wife hunt. They go to a neighbor-
ing island in search of women, and find a group of girls
in bathing. One of the girls sees them, gives the alarm
and the group flees with the men in pursuit.
Taro, one of the hunting party, has seen a girl he
is determined to get, and even after the rest of his
comrades turn back to their boats to escape the village
spearmen, he persists in his pursuit, captures his de-
sired maiden and hides with her until dawn. He then
steals a boat and takes her to his island.
The men, women and children of Taro's village all
turn out to greet Taro and his captive. Taro takes
Lilio — his maiden — to his mother, and then sets
about his courtship. Taro and Lilio are married, the
entire village taking part in the ritual dances and
ceremonies.
THE LAST OF THE PAGANS ( labor )
Metro -Go Idwyn-Mayer 1935
Producer: Philip Goldstone
Director: Richard Thorpe
557 ft., 15 mins. running time
16 mm. sound
H.S., Coll., Ad.
RENTAL:
$7.00 for 2 weeks
10.00 for 6 weeks
$5.00 for 1 week
$17.00 for 15 weeks
28.00 for 30 weeks
RESUME: In a Polynesian village the natives are hap-
pily pursuing their accustomed lives when a ship is
sighted off the island. The natives run for their boats
and row out to the ship to see the visitors.
On board, the crew prepares liquor, presents and
entertainment for the natives. The captain wants men
for the government phosphate mines. The natives swarm
over the boat, and get drunk on the strange liquor.
59
Meanwhile the captain picks strong young men, brings
them into the cabin, gives them presents, and tricks
them into signing a mark on the bottom of a government
contract which commits them to five years in the mines.
With the quota from this island filled, the ship sails
away, the young natives awaking in the morning to find
themselves far out to sea, and helpless to escape.
Arriving at the phosphate mines, the line of cap-
tured men files into camp, where they are lodged like
animals in a pen. Work in the mines is heavy. The
phosphate dust tears at their throats; the sun's heat
is terrific. The happy member of the group is the man
who has almost served his term out, and can think again
of returning to his native island life.
THE LIFE OF EMILE ZOLA
Warner Brothers 1937
Producer: Hal B. Wallis Director: William Dieterle
1157 ft., 32 mins. running time Jr.H., H.S.,Coll.
16 mm. sound Ad.
RENTAL: $5.50 for 1 week
$8.00 for 2 weeks $25.00 for 15 weeks
13.00 for 6 weeks 45.00 for 30 weeks
RESUME: In 1895 the Chief of Staff of the French Army
learns that important army secrets have been finding
their way to foreign countries. The leakage is of such
a nature as to point directly to a member of the General
Staff. The Chief calls for a roster of staff members,
and looks it through for the possible traitor. Count
Esterhazy, a man of Hungarian descent, is considered
momentarily, but because of his father's record in the
French Army, his name is rejected, and suspicion centers
on Captain Dreyfus, a Jew. Dreyfus is brought in for
questioning. He claims innocence, but is found guilty
of the crime.
Emile Zola is seen on the Paris streets with Mme.
Zola. They are doing their household shopping. Every-
where newsboys are crying the guilt of Dreyfus and his
commitment to Devil's Island. Mme. Zola wonders if
Dreyfus is really guilty, but Zola pays no attention.
He is engrossed in his shopping.
The years pass and Dreyfus, imprisoned under hor-
rible conditions in Devil's Island, continues to pro-
test his innocence. Mme. Dreyfus comes to Zola and
pleads with him to help her husband. She tells Zola
that he is the only man in France who could make the
60
public listen. Zola tries not to listen. He is com-
fortable and does not wish to become involved. He
tells Mme. Dreyfus that she should reconcile herself
to her husband's plight, that the case has been closed
and there is no chance of re-opening it. She persists.
She tells Zola that Count Esterhazy was acquitted to
save the face of the General Staff - - she has proof of
Esterhazy' s guilt. Colonel Picquart, Chief of Intelli-
gence, believes in Dreyfus' innocence, and knows that
Esterhazy is guilty. Picquart has presented his new
evidence to the General Staff, but it was rejected.
Officials are afraid of another treason trial in the
Army • • it would undermine the French people's confi-
dence in the Army Staff. They want to forget Dreyfus,
and avoid any further scandal. Picquart has been ordered
to keep silent .
As Mme Dreyfus tells Zola all these facts, his at-
titude changes. He feels that the situation is mons-
trous, but still does not want to become involved. He
tells her he has lived his life and is contented, and
asks why he must be the one to take up the case. Mme.
Dreyfus finally leaves him in despair.
But Zola cannot rest. He decides to write an
open letter to the President of the Republic of France
and re-open the whole Dreyfus case. In his famous
letter, "J' Accuse — M, he tells the President that his
whole General Staff has known for over a year that
Dreyfus was innocent, but that they have been keeping
the information to themselves. Zola is aware that this
open letter puts him in danger of a suit for libel, but
he is willing to undergo the trial so that the Dreyfus
case can be re-opened.
Zola is brought to trial. From the beginning the
witnesses for the defense are checked at every turn.
The judge in charge refuses to allow the Dreyfus case
to be mentioned. He asserts the case is closed and
will allow no testimony which involves it. Officers in
the army plead immunity and refuse to give testimony.
Colonel Picquart is called to the stand. He gives evi-
dence against Esterhazy. The Army Staff, present at
the trial, is allowed every opportunity to interrupt
and give special appeals. They plead with the jury, not
to undermine confidence in army officials, and put
their request on patriotic grounds.
Mme . Dreyfus is brought to the stand by the de-
fense. No question the defense wishes to put to her
is allowed by the court, and she leaves the stand with-
out having an opportunity to testify. Count Esterhazy
is called to the stand. Before he can give any testi-
mony, the court orders the courtroom cleared. Without
the audience, which has obviously been sympathetic to
61
the defense, the Army is willing to have the Dreyfus
case brought up. In closed session the Chief of Staff
tells of another document which has come into the
Army's hands which satisfies the General Staff of
Dreyfus' guilt. They refuse to submit the document
saying it would be too dangerous to the Republic if
it were made public property. Pic quart testifies that
this document is a forgery.
The Court recommends that the Jury bring in a ver-
dict of Guilty against Zola. Zola speaks to the Jury
in his own defense. He tells them that he had wanted
this trial so that the truth of the Dreyfus case could
be brought to light and judgea by the people of France.
He pleads for justice for himself and thus also for
Dreyfus. All during Zola's speech the Army officers
heckle him.
The case is given to the jury. They find Zola guilty.
From a discussion
Lillian: "The enthusiasm for parades could be turn-
ed to something that could be helpful, and if that
is possible our problem would be fairly simple....
They could be turned to helping the poor man, and
get very inspired by that."
From the photoplay
THE LIFE OF EMILE ZOLA.
Courtesy Warner
Brothers.
62
LIVES OF A BENGAL LANCER
Paramount 1935
Producer: Louis D. Lighten Director: Henry Hathaway
475 ft., 13 mins. running time Coll., Ad.
16 mm. sound
RENTAL:
$6.00 for 2 weeks
8.00 for 6 weeks
$4.50 for 1 week
$12.00 for 15 weeks
20.00 for 30 weeks
RESUME: The 41st Bengal Lancers are on border duty in
India. Colonel Stone is a man who values the Army above
anything else. He is a martinet and a disciplinarian.
His only son is sent out from Sandhurst to join the regi-
ment, very happy at the prospect of meeting and learning
to know his father. His father and mother had separated
years before. The boy is under the mistaken impression
that his father had sent for him personally. The fact
is, however, that the Major had arranged for his coming
without consulting Colonel Stone.
The Colonel, afraid to express feeling, anxious
that no favoritism be shown, and that the boy be put
through the paces like any other soldier, refuses to
recognize the father-son relationship. Bitterly dis-
appointed and unhappy, the boy's love and admiration for
the father he had never known, changes to resentment.
WAY FOR TOMORROW
Paramount 1937
Producer: Leo McCarey
635 ft ., 18 mins
16 mm. sound
Director: Leo McCarey
running time H.S., Coll., Ad.
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; Mrs. George Cooper teaches bridge to help with
her family expenses. She and her husband and 16-year-
old daughter Rhoda, have been crowded in the apartment
because George's mother is living with them. They try
to arrange that grandmother stay in her room during the
evening bridge, but she protests that folks will think
this very strange, and judge that they are ashamed of
her. Grandmother Cooper is worried about the lack of
news from her husband who is living with one of their
other children.
63
George cannot find his evening shirt, and it de-
velops that Grandmother Cooper had taken it to the
laundry. She thinks George's shirts have not looked
fresh lately. Mrs. Cooper tries to explain that as
George's wife she likes to look after George herself,
and Grandmother Cooper, feeling rebuffed, says that
she seems to be of little help to anyone.
At the bridge lesson that evening, Grandmother
Cooper talks to the players, disturbing them. Mrs.
Cooper, in desperation, pleads with her daughter Rhoda
to take her grandmother out to the movies. Rhoda
doesn't want to, but reluctantly gives in. At the
movies, Rhoda gets her grandmother seated, secretly
goes off for a ride with a young man. Grandmother
Cooper leaves the movie a little earlier than Rhoda
had expected, and sees Rhoda drive up. Rhoda begs her
not to tell, and after exacting a promise that it will
not happen again, Grandmother Cooper agrees to keep
quiet. Rhoda tells her about the boys she goes out
with, and listens to her grandmother's advice with
friendly indulgence.
One night Rhoda does not come home at all. Mrs.
Cooper is beside herself with worry. Grandmother
Cooper tells her that Rhoda is not always absolutely
truthful with her mother, and the story of the night
at the movies comes out. Rhoda' s mother demands what
right Grandmother Cooper has to keep Rhoda' s activi-
ties a secret from her. She accuses Grandmother Cooper
of being the reason for Rhoda 's behavior. Rhoda had
always asked her boy friends home in the past, but not
now, because her grandmother did all the entertaining.
"You raised five children of your own," says Mrs.
Cooper bitterly, "you might let me raise one."
George Cooper talks the situation over with his
Wife. Mrs. Cooper is convinced that as long as Grand-
mother Cooper is in the house, Rhoda will never use the
house for her own friends. They fear Rhoda 's leaving
them to get an apartment of her own. Looking over the
mail one morning, Grandmother Cooper finds a letter ad-
dressed to her son from the Old Ladies Home. She real-
izes what this means, and in order to save him the dif-
ficult task of broaching the subject to her, she tells
him that she is lonely in his home, and since re-union
with her husband seems impossible, the best thing for
her would be to go to the Old Ladies Home.
IN WHITE
Metro-Go Idwyn-Mayer 1934
Producer: Monta Bell Director: Richard Boleslavsky
526 ft., 15 mins. running time H.S., Coll., Ad.
16 mm. sound
64
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : Ferguson, an interne of great promise, is
scheduled to study for a year in Vienna and for further
years with his Chief, the noted Dr. Hochberg. Ferguson
is engaged to Laura Hudson, a wealthy girl, and intends
to marry her and have their honeymoon while he is study-
ing in Vienna. Dr. Hochberg disapproves of this arrange-
ment, claiming that marriage and study won't mix.
Laura's father tells the young people to pay no atten-
tion to Hochberg: "Have a good time while you are
young," is his advice.
Laura is impatient with Ferguson's steady appli-
cation to work and neglect of her. She feels his em-
phasis on work is ruining their chances for happiness.
In a meeting with the Board the need of money for
the hospital is emphasized. A. Board member announces
that Laura's father will give a large sum if Ferguson
is given an appointment to the medical staff. Hochberg
refuses to approve the arrangement and is shocked to
find that Ferguson has expressed willingness to take
the appointment. He phones for Ferguson to come to
see him.
Ferguson with Laura returns to the hospital from
the rehearsal of their wedding. Laura tries to explain
why Ferguson has decided to accept the appointment.
Hochberg tells them that Ferguson needs ten years more
training and much hard work before he should accept
such a post. He puts the choice up to them.
STUDENT DISCUSSION: MEN IN WHITE
(Part of a discussion by high school students
in a Chicago private school)
John: I think you can see the daughter had probably
been given practically everything she ever
desired from her youth, and she is used to
getting what she wants, and that the old
doctor has completely subjected everything
else that might come into his life to his
desire to be a good doctor and to find other
men who will be good doctors. They have
narrowed their lives down so that they don't
seem to be able to understand other people's
points of view.
65
Jim: It is interesting to note how the father
rationalized his point of view by saying,
"You only live once." I think that was
one of the main points, as "brought out by
this excerpt, that you do only live once
and you should choose between your own
happiness and that of others.
Leader: At least you have some pretty important
choices to make. I wonder if the choice is
always as extreme as you put it? Do you
always have to choose directly between your
happiness and others', or are there possi-
bilities for making the two go hand in hand?
Joe: I think that the young doctor would be
perfectly happy making other people happy and
in that way he would have happiness. I think
the girl, Laura, is the one who is getting
him in trouble and I think she could because
she seemed to love him so much she could
squelch anything for happiness.
Mary: I think he would have been just as happy
taking up private practice because then
Laura would be happy and the only one that
would be hurt would be the doctor and yet
the doctor would still have the idea that
the young doctor was working for the further-
ment of medicine.
Leader: I wonder if we shouldn't perhaps look for
some solution by which not quite so much of a
sacrifice on one side or the other might have
to be asked? Are there any possibilities
there?
Rosamond: Certainly, as individuals, each person's hap-
piness is rather important and I don't feel
that the girl was completely wrong because
she had a right to happiness, but I think a
compromise might have been reached and yet
I can't feel that the older doctor was justi-
fied in demanding so much of a young man when
there must be so many other young people in
the world too that are just as capable.
Susan: The doctor realized the situation. He real-
ized that there were these men in the corpora-
tion that were trying to shove this young
doctor into this situation and he realized
what was best for him.
66
Dick: I think you get the idea that the young doc-
tor is a very brilliant fellow and he has a
very fine future. I think on one side he is
"being pulled toward devoting his entire life
to medicine and on the other side he is being
pulled toward private practice and I think
both sides are working very hard and aren't
offering any compromise. I think he hasn't
seen any compromise and is trying to make a
decision between the two....
FOR THE LAMPS OF CHINA
Warner Brothers 1935
Producer: Robert Lord
Director: Mervyn LeRoy
Coll., Ad.
757 ft., 21 mins. running time
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : Stephen Chase works in North China for a large
American oil company. He is ambitious and idealistic.
Against the advice of his boss, he brings a bride to the
primitive station convinced that she will be willing
and able to make the necessary adjustments.
A lamp which Stephen has invented, and which will
bring a great deal of money to the Company, is accepted,
but credit is not given Stephen for its invention. His
beloved boss is arbitrarily removed to make place for a
^ounger man. For the first time Stephen is disillusioned
about the Company in which he has so much faith.
After several months Stephen is ordered to another
post more lonely and desolate than the first. Even
though expecting a baby, Hester Chase insists on going
with her husband. The night their baby is born one of
the Company's tanks catches on fire and Stephen is torn
between his loyalty to his wife and his duty to the
Company. He goes to the tanks, and on his return finds
that the baby has died. The doctor had needed his as-
sistance.
Hester Chase is bitter and cannot forgive Stephen
for his neglect of her and their baby. She accuses him
of having a brass tag on his soul marked with the Com-
pany' s name, just like all the furniture and everything
else belonging to the Company.
67
Before she has recovered, Stephen is ordered to
come to Shanghai to make a report on the fire. He
leaves her, even though she expresses uncertainty of
staying until his return.
THE ROAD TO LIFE (dialogue in Russian. .. .English titles)
A Mosfilm Production Jr.H., H.S., Coll., Ad.
Distributed by Amkino Corporation
661 ft., 18 mins . running time
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; A group of boys are playing cards near a rail-
way station. They are ragged and tough. This is one of
Russia's post -re volution gangs of homeless children.
Their chief is Mustapha. With the strategy of long
practice, Mustapha and his confederates steal a suitcase
from a bewildered woman traveler.'
Efforts to curb such children in institutions had
failed. The Committee in charge decided in 1923 to try
to solve the problem with children's collectives. It
is intended to give the wild boys a means of exchang-
ing their hostile attitude toward society for a friendly
one .
The boys first meet the delegate in a prison where
they are being detained. Taking the delegate for a
doctor, they start to undress and Mustapha, first in
line, opens his mouth for throat inspection. At this
the delegate is able to win his first point by making
Mustapha laugji at himself. But when the boys discover
that this man is no doctor but is sent by the state to
persuade them to give up their nomadic life, they become
defiant .m A few cigarettes make it possible to discuss
the matter.
A children's home? The delegate himself would not
recommend it. And to "stay" here in the prison? That,
he says, with contagious humor, would be very, very
foolish. The most Important thing, he agrees, is to be
free. Gradually he creates a picture of a collective
where the boys would govern themselves, where they
would learn trades. He allays suspicions by making the
new life sound somewhat like the old one.
68
As the boys are released from prison, planning to
escape on the way, they are again on the defensive.
"Where are the guards?" they ask, stopping in their
tracks. The delegate says that there will be no guards
The delegate trusts Mustapha with money to buy food for
the journey. While he goes off on his errand, the
others gloomily wait in the train. When the train
starts to pull out and Mustapha has not returned, the
delegate cannot conceal his disappointment. But
Mustapha returns, toting his packages and laughing at
the joke of buying food instead of stealing it.
At the collective, the boys acquaint themselves
with the planes, blowtorches, awls of the workshop.
They begin to make chairs and boots with the help of
experts. The collective is noisy with the sound of
hammers.
^RUGGLES OF RED GAP
Paramount 1935
Producer: Arthur Hornblow, Jr.
547 ft., 15 mins. running time
16 nan. sound
Director: Leo McCarey
H.S., Coll., Ad.
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME ; In a hotel room in Paris, 1908, Mr. & Mrs.
Egbert Floud are packing to return to their home in the
state of Washington, U.S.A. Egbert, perfectly happy as
he is, is outraged to learn that Mrs. Floud plans to
take Ruggles (a gentleman's gentleman acquired from
Lord Birnstead) back to Red Gap with them. Mrs. Floud
is going to turn Egbert into a "gentleman" if it kills
her. With considerable difficulty, Mrs. Floud and
Ruggles manage to get Egbert dressed in a manner more
suited to their idea of a "gentleman".
Arriving in Red Gap, Mrs. Floud sets out with the
help of her brother-in-law, Belknap Jackson, to make
social capital out of Ruggles. They concoct a splendid
story of the Floud European trip, putting particular
emphasis on their friendship with Lord Birnstead and
his kindness in letting them have his manservant,
Ruggles.
This story, however, never gets printed, because
on his way to deliver it to the newspaper office Egbert
persuades Ruggles to drop into the town tavern with him
for a drink, and he introduces Ruggles to all his old
69
friends as "Colonel" Ruggles. The newspaper owner
happens to be among Egbert's old cronies in the cafe,
and the next day a story appears in the town paper
telling of "Colonel" Ruggles, late of the British Army,
who is here visiting his old friends the Flouds. Mrs.
Floud and Belknap Jackson are crushed by the mistake,
but Mrs. Floud' s mother, Ma Pettingill, is much amused.
The women of Red Gap flock to the house to be intro-
duced to the distinguished visitor. Ruggles, although
confused by his new role, obviously enjoys being some-
body.
Taking the first opportunity, Belknap Jackson fires
Ruggles, and tells him to leave town* Mrs. Floud gets
a letter from Lord Birnstead announcing that he is plan-
ning to pay them a visit, and wishes to take Ruggles
back with him. Mrs. Floud, at first overjoyed at the
social triumph such a visitor will bring her, is then
infuriated to hear that Belknap Jackson has fired
Ruggles.
Ruggles has lost his newly-acquired self-confi-
dence, but regains it when he runs into Egbert and Ma
Pettingill (Egbert's mother-in-law) and finds that they
had had nothing to do with his dismissal, and still
consider him a friend. Egbert and Ma Pettingill try to
persuade Ruggles to return to the Floud household. But
Ruggles refuses, saying, "I can't go on posing as what
I'm not. "
SPLENDOR
United Artists 1935
Producer: Samuel G-oldwyn Director: Elliott Nugent
628 ft., 17 mins. running time Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : Phyllis Larrimore, an attractive young matron,
is being courted by Martin Deering, an influential and
wealthy man who has it in his power to make or break
her husband, Brighton. Martin makes it quite clear to
Phyllis that she herself is the price which he asks for
helping Brighton to become a financial success.
Phyllis refuses his advances, being very much in
love with her husband. But Brighton's mother is deter-
mined that her son shall be rich at any cost. She seems
to understand quite well what Martin Deering wishes from
70
Phyllis, "but wants Phyllis to agree to anything which will
help her son. Phyllis had not known wealth before her
marriage and tries to persuade Brighton that he should
follow his real desire to write and let them get along
without such splendor. He, however, feeling the insis-
tence of his mother for money, and measuring success by
income, insists that he must prove that he can make
money.
Finally convinced that her husband is interested
solely in financial success, Phyllis agrees to the con-
ditions which will give him the income he is seeking.
Her husband is sent off to a great distance on the job
at which he apparently succeeds. He returns, full of
his feeling of success, but finds his wife changed and
strange. He is bitter and resentful when he finds that
she had bought his success, and he disregards the cost
to her feeling of integrity. He cannot believe that
her love for him had prompted her action. Both feel
that their marriage is ruined.
THE STORY OF LOUIS PASTEUR (anthrax)
Warner Brothers (First National) 1935
A Cosmopolitan Release Director: William Dieterle
612 ft., 17 mins. running time Jr .H.S., H.S.,
16 mm. sound Coll., Ad,
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME ; Pasteur, a chemist, is convinced that microbes
are the cause of disease. He is crusading against the
methods used in childbirth cases, arguing that the doc-
tors and midwives spread the dread child-bed fever by
infecting patients with their unclean instruments and
hands. The members of the French Academy of Medicine
are scornful of Pasteur calling him a mountebank and a
witch-doctor. When the Emperor becomes interested in
Pasteur's theories, they convince him that Pasteur is a
quack and a dangerous man. The Emperor orders Pasteur
to stick to hi's chemistry leaving the treatment of
human beings to the doctors, and never to publish any
findings without submitting them first to the Academy
for approval.
France is ravaged by the Franco-Prussian War. The
Emperor is replaced by a President. All over France
the peasants are being impoverished by anthrax which is
killing off all their sheep. The President hears that
the sheep at Arbois do not seem to suffer from the
disease. He orders an inquiry.
71
From a discussion
Jim: "Perhaps they are very sincere, but their
whole "background has trained them in one way.
We do that too. That is one of the troubles with
s t ude nt go ve r nme nt . M
From the photoplay
THE STORY OF LOUIS PASTEUR.
Courtesy Warner Brothers.
Investigators find that Pasteur has been working
here. Still working on his germ theory, he has evolved
an antitoxin which makes healthy sheep immune. The
doctor heading the investigation laughs Pasteur's rec-
ord and theories away, and returns to report that the
fields at Arbois are immune. The Government then en-
courages peasants from neighboring provinces to bring
their healthy sheep to Arbois for grazing. Pasteur
knows the fields to be infected, that his vaccine has
saved the ones already at Arbois, and knows that the
unvaccinated sheep will die.
One of his assistants goes to Paris and pleads
with the Academy to try Pasteur's treatment. A member
of the Academy has discovered that he can give a
healthy sheep anthrax by injecting the blood of an
infected animal. He proposes that they discredit Pasteur
for good by making a test: he will pick 50 healthy
72
sheep, allow Pasteur to inoculate 25 of them and then
give all 50 sheep injections of infected blood. The
Academy agrees. Pasteur accepts the challenge. The
test is made. The inoculated sheep live, and the
crowd, largely of peasants, set up a resounding cheer.
THE STORY OF LOUIS PASTEUR (hydrophobia)
Warner Brother (First National) 1935
A Cosmopolitan Release Director : William Dieterle
652 ft., 18 mins. running time Jr.H. S., H. S.,
16 mm. sound Coll., Ad.
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: Pasteur in his laboratory is working out a
treatment for hydrophobia. His studies have convinced
him that he must make a serum and use this to combat
the disease.
To the French Academy of Medicine, made up for the
most part of men opposed to and jealous of Pasteur,
comes a Russian doctor to find out what Pasteur can do
for his countrymen who for years have been preyed upon
by rabid wolves. In spite of the Academy's opposition,
this doctor persuades them that they must seek out
Pasteur and find out what he has been doing. They go
to Pasteur's laboratory and he explains his theory.
The Academicians refuse to look into his microscope
and laugh him down.
Hearing of Pasteur's findings, a country doctor
brings him a boy who has been bitten by a rabid dog,
and begs Pasteur to save him. Pasteur tries to explain
that his treatment has only been tried on animals, and
that he cannot experiment on human beings. He is not a
physician and the penalty might be the guillotine. But
the boy's sufferings drive Pasteur to give the treat-
ment. As the days pass the boy seems no better, but
Pasteur persists in his treatment.
Before the outcome of this treatment is estab-
lished, Pasteur is called on by the Russian doctor to
treat a group of Russian peasants who had been bitten
by rabid wolves. He points out to Pasteur that this is
a marvelous opportunity, but Pasteur replies, "An op-
portunity, yes, a marvelous opportunity to kill. I am
a scientist, not a magician. My treatment was intended
for dogs." But again Pasteur is unable to resist
suffering. He sends the Russians to the hospital. For
days the Academy of Medicine refused to permit the
treatment. Pasteur, weary and distraught with worry,
73
has a stroke. Recovering consciousness, he finds that
permission ha's "been given, but already several Russians
have died. He insists on going ahead, personally su-
pervises the treatments, and many are saved. Mean-
while, the "boy has been cured.
At last the Academy must admit Pasteur's theories.
He is given special honors at a meeting of the Academy,
and addresses his speech of acceptance to the young
students in the galleries telling them not to become
discouraged, that no scientific theory has ever been
accepted without opposition.
WEDNESDAY'S CHILD
R K 0 - Radio 1934
Director: J. S. Robertson Coll., Ad.
322 ft., 9 mins. running time
16 mm. sound
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME; Bobby, a ten-year-old, is playing with some of
his young friends, when one of them spies some "neck-
ers" in a car, and calls the group to watch them. The
woman in the car is Bobby's mother, and when one of his
companions asks if the man is his father, Bobby pro-
tests that his mother would never kiss anyone else. It
is obvious, however, that Bobby is shocked and hurt,
and that the man with his mother is a stranger to him.
Bobby1 s mother listens to the pleading of her
lover that they stop sneaking and tell her husband of
their meetings. She asks him to be patient a little
longer.
That night Bobby is unhappy and sleeps restlessly.
His mother comes home very late and finds that her hus-
band has been waiting up to tell her he knows about her
surreptitious romance. They quarrel violently, and
awaken Bobby who overhears his mother say that she was
too young to marry, and his father that perhaps they
should never have gotten married at all. At the peak
of the quarrel, his mother runs away, saying that she
never wants to see her husband again.
In the courtroom, the judge grants a divorce to
Bobby's mother, ruling that for six months of the year
Bobby will be with his mother, and for the other six
months with his father. The judge calls the boy to the
stand to make sure that he understands exactly what the
ruling means, and Bobby says that he does -- "Mother
74
and Father are not married any more . I am to be with
my father for six months — " he smiles at his father,
"and with my mother for six months." Bobby turns and
looks at his mother accusingly.
WHITE ANGEL
Warner Brothers 1936
Supervisor: Henry Blanke Director : William Dieterle
622 ft., 17 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME; At the outbreak of the Crimean War, Florence
Nightingale sets out from England with a band of train-
ed nurses, determined to do something for the sick and
wounded. From the outset she encounters opposition
from Dr. Hunt, head of the Medical Corps in Scutari,
He can't think what the world is coming to with women
nurses for the soldiers.
Miss Nightingale finds frightful conditions pre-
vailing in the base hospital, and sets herself to clean
up the buildings and institute modern, sanitary nurs-
ing. Supplies are denied her, red tape is unbelievably
complex, and she gets no cooperation from the army per-
sonnel. A doctor who tries to help her is sent away to
the front. Miss Nightingale asks Dr. Hunt why he op-
poses her, and he tells her frankly that he is not op-
posed to her as a person, but he objects to women
nurses for the soldiers, they make the men "soft". He
admits there is no possibility of any understanding or
cooperation between them. He is unalterably opposed
to her.
Florence Nightingale carries her work to the front
lines, and there meets even stronger opposition. At Dr.
Hunt's orders she is refused admittance to the hospi-
tal. The Commander -in- Chief hears of her difficulties,
and sees that she is given the opportunity to do her
work. He asks that a committee of inquiry be sent from
England to investigate Dr. Hunt. Upon her return from
the front, Florence Nightingale discovers that Dr. Hunt
has let a group of untrained women, led by an untrained
person take charge. To the committee of inquiry he
complains of their inefficiency charging it to Florence
Nightingale. The committee learns the truth and Miss
Nightingale is made head of the army nursing corps.
The war over, Miss Nightingale returns to England.
She is sent for to be honored by the Queen. As she
75
waits in the anteroom for her audience, she is met by
the permanent under -secretary to the War Office - a man
who has opposed her all the years she was in the
Crimea. He tells her that he opposes her still because
she is dangerously progressive. She is undermining the
system which he represents. "We cannot afford to ex-
periment," he tells her. And Florence Nightingale re-
plies, "But we cannot afford to wait."
STUDENT DISCUSSION: WHITE ANGEL
(Part of a discussion by high school
students in a Chicago private school)
John: Well, to my mind, the last speech there rep-
resented the coming in of the new system and
the going out of the old. He said it would
undermine a system which he represented, which
was what he didn't want to happen because it
would throw him out, more or less. Another
thing that was very dominant was the fact that
this one doctor in the base hospital was so
prejudiced against women. He held that men
were far superior to women.
Mary: I't showed the Victorian idea that women are
just part of the scenery, the background, and
had no sense.
Susan: I think he had some idea, he just felt that
it would break down the morale of the army to
have women there. He didn't just dislike wo-
men.
Leader: Would it have done that? Was that the real
issue, whether or not it would break down the
morale of the army?
Joe : I think the real iasue was that he was afraid
to build it up and see the need of these
nurses, how much good they were doing.
Paul: It was undermining the present system that was
in use, and they were the heads of the system
and wouldn't profit by its installation.
Sally: It would take away a great deal of his
prestige .
Jean: He was a doctor and he was supposed to be well
versed in medicine, and if a nurse came and
changed conditions and reduced the death rate,
then he would lose some of his prestige.
76
Jim:
Leader
Jim:
Well, this is definitely a parallel to the
Pasteur movie, in which the people who rep-
resented the old system resented the coming
in of the new.
Only resented it, or did they do more than
that?
Well, they resented it and fought it openly.
Leader: Let's now have a summary of the discussion so
far.
Jane: It seems that most new organizations are not
accepted for a long time. They always meet
with opposition, I think, from the type of
man who has stood up for his ideal all along
and doesn't want to accept the new regime, as
it were, because it would lessen his prestige
and he would have to humble himself.
Leader: What problems are we facing today because of
this same fear of losing status?
WHITE BANNERS (classroom)
Warner Brothers 1938
Producer: Harry Blanke
Director: Edmund Goulding
204 ft., 6 mins
16 mm. sound
running time H.S., Coll., Ad.
RENTAL: $4.50 for 1 week
$6.00 for 2 weeks $12.00 for 15 weeks
8.00 for 6 weeks 20.00 for 30 weeks
RESUME: Professor Ward arrives in front of the school
one morning in the midst of a snowball fight. Peter
Trimbull, son of the richest man in town, breaks a
window. "Will your father take it out of your allow-
ance?" the Professor asks. When Peter says not, Ward
decrees that he must pay by staying after school. As
he metes out this discipline, somebody's snowball
scores a direct hit on his neck. The Professor stalks
off undaunted.
In science class that afternoon, Ward's lecture on
thermodynamics is not receiving the attention of the
whole class. Peter Trimbull and two others are engaged
in a cautious wrestling match behind one of the labora-
tory tables. Without interrupting his lecture, Ward
advances down the room far enough to assure himself of
the facts, then returns to his desk, still lecturing.
77
When the boys appear from behind their table, Ward is
ready with an invitation that they join him on his
platform. Peter dons a false face and sets the class
in an uproar. Ward insists that Peter keep the mask on
while being quizzed. Ward is still in control of the
situation, and his first question stumps Peter. His
second question involves original thinking which Peter
accomplishes very ably. The Professor comments on this
with ungrudging admiration. Nevertheless, for the sil-
ly trick of the false face, Peter must chalk his name
on the roll of dishonor.
Since the lesson is still in competition with the
high spirits of the class, Ward decides to give every-
body "one good laugh and get it over with". He himself
dons the false face and strikes a pose while the class
roars.
Suddenly there is silence. The Professor asks
why. He is told that the Dean had come into the room
with visitors. The Professor, caught redhanded, con-
siders his position, and turning to the blackboard,
writes WARD in large letters on the roll of dishonor.
The applause of the students almost drowns out the
three o'clock bell. As the class leaves, Ward reminds
Trimbull, "Peter, I'll see you after school."
WHITE BANNERS (invention)
Warner Brothers 1938
Producer: Harry Blanke Director: Edmund G-oulding
558 ft., 16 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME : Professor Paul Ward strides into the school
grounds one snowy morning just in time to see a
snowball crash through a window. He asks the culprit,
Peter Trimbull, if his father will charge the window up
to his allowance. Confidently Peter says, "No."
Mr. Trimbull is the richest man in town, and Peter
never forgets it.
In class that afternoon Peter disrupts the lecture
with practical jokes. Prpfessor Ward asks Peter up to
the platform for questions. Peter answers the Profes-
sor's questions correctly, and even brilliantly. The
Professor is ungrudgingly pleased at Peter's grasp of
the problems involved in refrigeration.
78
One day in the cellar laboratory of his house, the
Professor is intent on his latest invention -- an ice-
less icebox — when his young daughter descends on him,
hotly indignant that her father has taken Peter Trim-
bull off the hockey team. "Do you realize that you're
punishing the whole school just for one boy?" The Pro-
fessor tells his daughter that perhaps now the school
will think of some way to punish Peter. His house-
keeper, standing by, suggests that perhaps punishment
is not what Peter needs, perhaps he needs a hobby, or
the friendship of an older person. The Professor
brings Peter into his laboratory to help him with his
experiment. "I have been thinking," says the Profes-
sor, "here is a brilliant science student. Why waste
his time on useless homework? Why not involve him in
my ice less icebox?" They shake hands over plans to
collaborate .
Prom a discussion
John: "We spend so much time fighting over people
and trying to get ahead of them. When we work with
other people on something we are interested in,
well, it helps, but the old habits get in the way."
From the photoplay WHITE BANNERS. Courtesy Warner Brothers
One day Peter is alone in the Professor's labora-
tory, when Peter Ellis of the town hardware store calls
79
to deliver a part for the icebox. Peter asks Ellis to
wait upstairs while he tries the part. He cannot make
it fit, and asks Ellis for help. Ellis takes this op-
portunity to find out what it is that the Professor is
working on. Peter is conscience-stricken because he
had promised the Professor never to let anyone see the
invention. Ellis assures Peter that he will say noth-
ing about it. The Professor comes home and finds
Ellis' lighted cigarette on the table beside the in-
vention. Peter, in a panic, tells the Professor that
he is learning to smoke, and denies vehemently that
Ellis was down in the laboratory.
The invention is successfuly completed, and a
patent is filed. A week later the Professor receives
news from the patent bureau that the Ellis brothers
filed a patent just before him. The Professor cannot
understand. He turns to Peter who is frightened and
guilty. Slowly the Professor recalls the cigarette
on the work table. Peter, faced with the accusation,
admits his lie. The Professor reproaches Peter
angrily, telling him that if only he had told the
truth the Professor could have filed his patent earli-
er. Peter cannot look at the Professor for remorse.
*>WIFE. DOCTOR AND NURSE
20th Century-Pox 1937
Associate Producer: Raymond Griffith Director:
Walter Lang.
775 ft., 21 mins. running time Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME ; Dr. Judd Lewis, a successful surgeon, depends
for his personal happiness upon his wife Ida with whom
he is very much in love; and for his professional suc-
cess upon Miss Stevens, his very attractive nurse. Ida
is intelligent in her relationship with Judd, realizing
the demands which his professional life make upon him.
She does not complain, for instance, when he leaves her
in the car to drop into his office for a moment, and
finding an emergency call rushes to the hospital, for-
getting that his wife is waiting. Ida is somewhat
jolted, however, when she finds that the assistant of
whom he constantly speaks as "Steve" is not male, but
attractive, blonde and female. She invites Miss
Stevens to lunch and frankly asks whether she is in
love with Judd. Steve admits that the relationship is
very important, but assures Ida quite honestly that it
is only a work relationship.
80
After a particularly strenuous stretch of work
Steve and Judd relax in the office. Steve is suddenly
moved to kiss Judd, and the realization that she is in
love with him embarrasses them both. Steve decides she
should leave her job. Judd tries in vain to dissuade
her from her decision. Ida, when she sees how much
Judd depends on Steve, tries to get her to return.
Steve tells Ida that since their luncheon together
when Ida. suggested she might be in love with Judd she
has realized she was. Under the circumstances Ida
agrees it is better that Steve stay away.
Judd, however, is miserable without Steve. A
sudden return to his old high spirits encourages Ida
until she learns that Steve has just returned to her
old job. Ida accuses Judd of being in love with Steve,
She tells him that it is quite impossible for her to
accept the fact that another woman is so important to
him.
*>WILD BOYS OF THE ROAD
Warner Brothers 1933
A First National Production Director : William
Dieterle
686 ft., 19 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: Eddie and Tommy, two young boys in a small
American town, become aware that they are a financial
drag on their families who are victims of the depres-
sion. Eager to help, they try to get jobs, but are as
unable to do so as their own parents. Rather than stay
and continue to be a burden they decide to take to the
road and find work in one of the larger cities. They
run off at night, and hop a freight train out of town.
These two boys join an army of young people from
every part of the country who are adrift seeking work
and security. They go from town to town seeking em-
ployment, living as best they can on occasional jobs
and handouts. In one city a group of them dig in and
make a home for themselves in one of the city dumps.
The settlement is well organized and orderly, but the
city authorities, feeling that the derelict children
are a disgrace to the town, run them out by force.
Finally in New York Tommy gets a job. In order to
get together enough money to buy the uniform he is
81
required to wear, he and his friends beg for money on
the streets. Tommy becomes innocently involved in a
hold-up, and is taken to court . The judge tells the
boy that he must be sent to the reformatory. Tommy
breaks down. He says that he will be glad enough to
get off the streets and perhaps have enough to eat for
a change. But he accuses the judge of condemning him
to the reformatory not because he justly belongs there,
but because he knows that the judge, just like all the
others, wants to get him out of sight so that he can
forget him and the problem he represents.
> WOMAN AGAINST WOMAN
Metro-Go Idwyn- Mayer 1938
Producer: Edward Chodorov Director: Robert B.
Sine lair
535 ft., 15 mins. running time H.S., Coll., Ad.
16 mm. sound
RENTAL: $5.00 for 1 week
$7.00 for 2 weeks $17.00 for 15 weeks
10.00 for 6 weeks 28.00 for 30 weeks
RESUME: Maris Kent and Dr. Steve Holland are in love.
When he tells Maris that he has a six-year-old daughter
by his first wife from whom he has been divorced less
than a year, Maris receives the news with some mis-
givings, but quickly reassures herself and Steve that
for them nothing can stand in the way of a happy mar-
riage. Her friends, when the engagement is announced,
make Maris uneasy with their warnings. They point out
that both Steve and his first wife, Cynthia, were born
and raised in the town in which he has his practice,
that the town will be socially hostile to Steve's
second wife. But Maris, sure of her love for Steve,
is undeterred.
When Cynthia Holland gets the wedding announce-
ment, she grasps for the first time the reality of her
loss of Steve. She pretends to plan a generous retreat
in favor of Steve's new wife, but in fact fixes upon
her child Ellen — "the bond which no one can destroy"
-- as the means to hold Steve.
Steve brings Maris to his mother's home, where she
gets a cool reception. Mrs. Holland, senior, is de-
voted to her son's first wife. At their first country
club dinner, Steve and Maris run into Cynthia, who im-
mediately makes a bid for public sympathy, by hysteri-
cally imploring Maris to make Steve happy, and then
leaving ostentatiously. Friends at the club express
their determination not to let Steve "stuff his new
wife down their throats."
82
It is inconceivable to Cynthia that she and Marls
should be present at the same social functions, yet she
is not willing to be the one left out. Marls drops in
for lunch at the club one day and finds the social set
assembled in full force for a ladies' bridge. Marls
has not been invited — she is being boycotted. The
bridge chairman pretends not to have known that the new
Mrs. Holland played bridge. "Oh, yes," retorts Marls,
"I play bridge, I dance, I eat lunch sometimes. I'm
quite normal." She leaves abruptly. Her mother-in-
law, roused at last to her defense, protests: "I
don't like stupid cruelty; I hope this sort of thing
never happens again, "
That afternoon, while Steve is showing her the
site of their new home, Marls breaks down. "I thought
I married you. I married a divorced couple." She sug-
gests a temporary separation. Steve will not hear of
this, and reminds her of their love. Marls takes heart
again, promising herself not to "let them get away with
it."
YOUR UNCLE DUDLEY
20th Century-Fox 1935
Producer: Edward T. Lowe
Director: Eugene Forde
140 ft., 4 mins. running time
16 mm. sound
H.S., Coll., Ad
RENTAL:
$5.00 for 2 weeks
6.00 for 6 weeks
$4.00 for 1 week
$8.00 for 15 weeks
12.00 for 30 weeks
RESUME; Ethel's mother is forcing her to practice her
singing. Her mother is interested in having eighteen-
year-old Ethel win a $5000 contest so that she and her
daughter can go to Europe.
Ethel's friends want her to come out with them for
a tennis game. Her mother refuses to let her go.
Ethel must continue her practising. "I never interfere
with anything Ethel wishes to do," says her mother
self -righteously, "but this is one thing in which she
must obey my wishes."
83
STUDENT COMMENTS ON THE VALUE OF THESE FILMS
Elizabeth (12th Grade) :
"The most important thing the Moving Picture Ex-
periment has done for me is to shatter all my "beliefs
in man1 s inborn qualities. Up to this time I was thor-
oughly convinced that all man's characteristics were
part of his 'human nature'. But now every time I start
to dismiss a thing as inborn, I stop and think, and
realize that it was only through education and environ-
ment that this trait was acquired.
"Then, I had to think all the way through the
movie and make myself realize what were the important
issues of this selection. I had to pick and choose and
select the important points and formulate my ideas into
understandable words.
"It gave us all a chance to discuss important
problems with actual, visible situations on which to
base our conclusions. Seeing them in play form made
them a real, human fact, not just an abstract prob-
lem "
Rosamond (12th Grade) :
" Some of the excerpts were really so very
vital that I -am sure our emotions went through the ex-
perience at the same time. Then to be able to discuss
the problem with others your own age who have just had
the same experience has unlimited advantages. It makes
one realize the different effects the same experience
can have on different individuals, that one must
respect the relatively different opinions, and one must
be consistent with their own. These experiences and
discussions helped us to crystallize our own philos-
ophies. Although this process takes years, the movies
made quite a dent in my own "
Henry (12th Grade) :
" We begin to realize that we must do some-
thing because we can't just sit back and see things
happen without trying to change the course of their
happening. We have discussed the causes of mobs, pov-
erty, lynchings — we know that they are shortcomings
of the society we live in. Why not delve deeper and
try to find out how to remedy these things? This by
having longer discussions, more research and a more
organized group of presentations."
Anne (12th Grade) :
" They (the films) are the progenitors of
discussion, and I belong to a school of thought which
84
says that there almost never can be too much discus-
sion -- in a schoolroom. Also, the discussion isn't
limited to the subject matter of the film, and somehow
we always seem to go on to something more vital and
important. We never branch out into trivialities. In
fact, we never branch out. Our side-tracking always
has a logical reason behind it.
"To me particularly there has been an advantage in
tying up the individual problems with greater ones. I
have even been a little more Interested in the detail
of small things than the all-engrossing challenges
which are related to them.
"One can almost hear people's minds turning in a
discussion following one of the films "
Louis (12th Grade) :
"I think one of the biggest advantages of the mov-
ing picture experiment is that it presents actual prob-
lems in a practical way. We hear of problems and try
to discuss them in class, but the movie gives a defi-
nite example. In our last movie about war, the atti-
tude toward war, and the emotional effect of war, we
had a definite family, and could discuss them and their
actions. Otherwise the problem might have never
arisen, and if it did, probably would not have been so
clear and the issues so distinct "
Nancy (12th Grade) :
"The movies that we had and discussed this year
were very beneficial and constructive in that they
made us realize more fully the way various tvpes of
people act and live. It gave us a chance (1) to ex-
press our ideas concerning the way people act, and (2)
to argue and see the points of view of other people of
our own age, our classmates who were confronted with
the same problems of growing up as we as individuals
were. And, finally, at the end of a well-guided dis-
cussion we had gained a constructive way in which we
might guide our lives if such a situation confronted
us. This experiment also taught us to be tolerant, ap-
preciate the other person's point of view, defend our
own argument, and try to find a solution to a problem
by working with a group. It also was a very interest-
ing way of conducting a class discussion and teaching
certain social problems, and was a great way to make
people speak extemporaneously and confidently "
Anthony (12th Grade) :
" The movies of the Commission on Human Re-
lations.... brought out the behavior of all the im-
port ant characters from most points of view, and opened
up the ideas that other people have reasons for their
behavior "
Gene ( 12th Grade ) :
"This experiment has been of most benefit t o me
and to the class. Through the medium of pictures, the
easiest and best way of conveying problems to people,
pupils are made to discuss problems that are presented
to them for the first time. This has the effect of
making the pupil more alert, to be able to speak
fluently and with some reasoning behind this speaking.
This is the first of the two great benefits derived
from this project, that of being able to speak well.
"The second is the ability of being tolerant.
Through this discussion one becomes tolerant of other
people !s viewpoint. This is one of the problems con-
fronting the world today, and if this experiment teach-
es nothing else it is a very successful project."
86
INDEX OF FILMS
( vindicates that a partial tran-
script of a student discussion
follows the resume of the film.)
ALICE ADAMS
(dance) 17
(money) 18
ANIMAL KINGDOM, 19
ARROWSMITH, 19
BIG HOUSE, 20
BLACK LEGION
(Taylor) 21
(violence) 22
BORDERTOWN, 25
BROKEN LULLABY, 24
CAPTAINS COURAGEOUS
(school) 25
* (fish-hook) 26
(race) 30
CAVALCADE, 30
CEILING ZERO
(Payson) 31
(Davis) 32
-x-CRADLE SONG, 33
DEAD END
(children) 35
(gangster) 37
DEVIL IS A SISSY
(gang) 38
(electrocution) 39
* (juvenile court) 39
DODSWORTH, 42
EDUCATING FATHER, 43
FAMILY AFFAIR, 44
FOUR DAUGHTERS, 45
FURY
(lynching) 47
(governor) 47
(trial) 48
GOOD EARTH
(woman) 49
(famine) 49
(locusts) 50
HIT & RUN DRIVER, 51
I AM A FUGITIVE FROM
A CHAIN GANG
(chain gang) 52
(pardon board) 53
*IP I HAD A MILLION, 54
INFORMER, 56
*LA MATERNELLE, 57
LAST OF THE PAGANS
(marriage ) 59
(labor) 59
LIFE OF EMILE ZOLA, 60
LIVES OF A BENGAL LANCER, 63
MAKE WAY FOR TOMORROW, 63
*MEN IN WHITE, 64
OIL FOR LAMPS OF CHINA, 67
ROAD TO LIFE, 68
RUGGLES OF RED GAP, 69
SPLENDOR, 70
STORY OF LOUIS PASTEUR
(anthrax) 71
(hydrophobia) 73
WEDNESDAY'S CHILD, 74
-*WHITE ANGEL, 75
WHITE BANNERS
(classroom) 77
(invention) 78
WIFE, DOCTOR & NURSE, 80
WILD BOYS OF THE ROAD, 81
WOMAN AGAINST WOMAN, 82
YOUR UNCLE DUDLEY, 83
87
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