All That Glittered: the Golden Age of Drama On Broadway, 1919-1959
“Earlier, film was silent and thus unacquainted with the sheer verbal communication of the stage; by the 1940s, the movies were made of forms and personnel with little or no theatrical roots. Thus, Orson Welles and his Mercury Theatre troupe made their name in the 1930s on The Street; but their work on Citizen Kane (1941) marks an ideal demarcation point in the separation of screen from stage in the history of American narrative art. The film is not only an original—it was conceived so kinetical...ly that even its key line, “Rosebud!,” is really a key shot: the child’s sole enabling innocent memory is tossed into the furnace as the man himself goes to hell.
So it is the 1930s when theatre and film share history; one cannot recount the one’s without the other’s. The first reason why is the most obvious: suddenly talking, Hollywood needed scripts to film and actors with viva voce command. Also obviously, Broadway in its Depression desperately needed Hollywood money. And note that the movie studios didn’t buy just hits: the studios bought plays.MoreLess
So it is the 1930s when theatre and film share history; one cannot recount the one’s without the other’s. The first reason why is the most obvious: suddenly talking, Hollywood needed scripts to film and actors with viva voce command. Also obviously, Broadway in its Depression desperately needed Hollywood money. And note that the movie studios didn’t buy just hits: the studios bought plays.MoreLess
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