By Don Miller
An unduly vague background of the minor studios, B motion pictures gathers jointly histories of such factories as Monogram and PRC. The e-book was once cast from an essay that seemed in specialise in movie, and the e-book used to be intended to be a part of a chain lower than the overall editorship of Leonard Maltin. It's uncertain what number if any of the proposed titles have been released. The index cites movie titles in basic terms.
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Additional info for “B” Movies: An Informal Survey of the American Low-Budget Film 1933–1945
The majority ruled, so Wheeler & Woolsey vexed the critics and pleased the people. But after The Nirwir: in early 1935, with George Stevens directing one of their most well-received efforts, the budgets were lowered. Robert Woolsey died three years later, permanently ending the comedy team. ln the interim, they had appeared in ve lms, still pleasing their faithful fans, but on a production scale markedly lower than heretofore. Of the ve, Mummy‘: Boy: (l936), directed by Stevens‘ collaborator Fred Guiol, had the best-sustained fun and the others had their moments, but the economy and lack of care more than showed around the edges.
They were dull. Not that all Chesterfield-lnvineibles were a waste of time. Down on his luck, Erich von Stroheim starred in a rather fragile but pleasant Invincible release of i934, Fugitive Road. The slight tale of a romantic triangle at a border outpost, involving Stroheim, beautiful Wera Engels and Leslie Fenton, was given a good deal of charm in its direction by Frank Strayer, and the leads were of course more than capable. Stroheim has been listed in various books as a contributor to the screenplay, as well as “supervisor of military detail," a generous but hardly earthshaking title_bestowed upon an individualist who was experiencing the depths of despair at the downward plunge his lm career had taken, was bereft of his personal fortune, and now was glad to be at work.
The majors wanted to make bigger pictures. Now they could. Big pictures were made all right, but so were small pictures calling for small budgets. The middle of the road program lm which at one time constituted the bulk of a studio's output was now somewhat curtailed. There were still some hybrids made, balanced between “A” and "B" categories, and so much the better, for they 36 could be used in either situation as the case presented itself. But some studios had not heretofore made "B" pictures.