Tu Manila, 1 have watched pictures the making from the time the dea behind the story was a flash in Somebody's mind, until the finished product flicked across the screen in the manager's private preview theatre. The studios there are much better "equipped than they are in Shanghai. They have dispensed with the enormous spoked cylinders, using instead Hollywood's latest. invention, dozen narrow, deep tanks placed a row and a glass-inclosed space, thermostatically controlled.
Films are threaded on small spools where they then begin a long. Journey, travelling down one tank, "Freedom, soon wil be. re the progress of Chinese pictures—sbove then up again, plunging into next tank, and again, up and over, Until twelve tanks have been in turn a bath for the tim. It then winds Slowly into the glass small-room, Where it dries in 'a little over an hour. The whole process—developing, and drying—is less than two hours.
But in story context, the Chinese pictures win "honours. Filipino theatre-goers are still in that stage wherein implausible events are the more entertaining. 'Evidently the Chinese theatre-goers "are realists. 'They like to see—if their pictures are any' eriterion—a story that reflects their own problems, with which they are familiar, problems that might happen in their ow! homes and solutions to. these prob-ems that are genuine. "Requirements for actors are more stringent in China than in Manila is that propaganda pictures are the same in Mani but then propaganda same the world over, no matter what theme. One Manila two Years ago was named "Son of the Prisoner," and it told a story of an ordinary' family living an ordinary fe. Then through a miscarriage of justice the father had to go to prison.
Text read from the printed page and cleaned; old type leaves the occasional error.