“I don’t think he’ll change. At 21 or 22, so many things appear solid, permanent and terrible, which 40 sees as nothing but disappearing miasma. 40 can’t tell 20 about this; 20 can only find out by getting to be 40.” (Eugene’s letter to Isabelle in The Magnificent Ambersons)
“Nobody knows whether the world is old or young.” (G.K. Chesterton)
In Billy Wilder’s scintillating portrait of Hollywood, Sunset Boulevard (1950), there is a moment where a former star of the silent screen (Gloria Swanson) is outlining the plot of her comeback film Salome to a cynical young screenwriter (William Holden). “The princess in love with a holy man,” she says. “He rejects her. She dances the dance of the seven veils. She demands his head on a golden tray, kissing his cold dead lips.” Comments the screenwriter sardonically: “They’ll love it in Pomona.” It is a vicious reference. On March 17, 1942, the Fox Theatre in Pomona, California was the scene of one of the most notorious previews in film history, that of Orson Welles’s The Magnificent Ambersons. The derisive response of the audience was to trigger a chain of events which was to lead to the cutting of the film by about a third from its original length of 131 minutes. It was an act of aesthetic vandalism whose severity had not been seen in Hollywood since the savaging of Erich von Stroheim’s Greed (1923) nearly twenty years earlier. Welles’s relationship with Hollywood never recovered.