Why shouldn't I tell the world about "East is West" if I want to?

Thousands and thousands of people have already laughed and wept over the adventures of little Ming Toy "99% American girl" and her athletic lover Billy Benson in the stage play "East is West." Everybody that saw Fay Bainter, as the first Ming Toy, being hustled down to the gorgeous but hideous Love Boat because her "father" thought too many daughters were a curse unless he could cash in on their beauty in the matrimonial slave market, will admit it was a great play. Since its first night on Broadway the play has had a two-year run at the Astor, played many consecutive weeks the sixth time it returned to San Francisco, and is still a success on the road. Nearly every American willing to pay two dollars or up for a seat has seen it, and it has made a fortune for its authors, Samuel Shipman and John B. Hymer, and for Wm. Harris, Jr., its producer. And they deserve it for providing so much good fun to a world that needs all it can get. Of course, the Motion Picture people were quick to ask for the screen rights of such a hit but the authors and producers knew its value and let the movie men bid against bid for two long years before they cried "SOLD" to Constance Talmadge's Manager, Joseph M. Schenk.

Now, I haven't the least bit of diffidence in saying I am being paid for writing this series of articles, which will run for six weeks in The Saturday Evening Post. I don't think it will hurt my standing as an author. Magazines and newspapers pay authors to write about the stage and screen, and all I am asked to do is to tell the truth about "East is West" as I see it. Honestly, I think it is going to be fun to be able to tell some ten million people what I think about a motion picture play. So here goes -- more about "East is West" next week.