Downplaying their proud religion, their underlying ethnicities were also part of the white power structure majority of America itself to which most of them easily assimilated. Laemmle's Universal evolved from B movies to iconic horror films, Zukor's Paramount reveled in lavish epic productions, Fox staged star system vehicle extravaganzas, Cohn's Columbia feel good everyman allegories, Warner Brothers street tough film noir and Loew's MGM lighthearted family fare and musicals. But it was not simply the vision of the people of the book but of the different ethnic groups within their ranks whose life philosophies reflected the subject matter of their productions. Through it all, these cinematic giants were steadfast to an early optimism of an America that refused to be down and out when theater pastime reflected our best and brightest showmen, players and storytellers. But many had compromised their sense of personal identity to sell larger than life make believe and fit into the new world. Some were workaholics who died young, others had family rivalries embroiled in domestic strife. Having hit Hollywood's genesis stride before, during and after the Great War, they retreated America into a 40 foot escapism where the silver screen was at first safe from unhappy endings. They came from the ghettos of Europe escaping persecution, turned their backs on impoverished upbringings, peasant parentage and created a celluloid dream world where they could rise to high society and forget their worries as well as our own. ![]() ![]() This book is not just about a religious tribe pioneering the birth of movieland but also the humanity and pathos that inspired the Big Bang of 20th century cinema.
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