Under a forehead roughly comparable to that of the Javanese or the Piltdown man are visible a pair of tiny pig eyes, lit up alternately by greed and concupiscence. His nose, broken in childhood by a self-inflicted blow with a hockey stick, has a prehensile tip, ever quick to smell out an insult; at the least suspicion of an affront, Perelman, who has the pride of a Spanish grandee, has been known to whip out his sword-cane and hide in the nearest closet.

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In pulp fiction it is a rigid convention that the hero’s shoulders and the heroine’s balcon constantly threaten to burst their bonds, a possibility which keeps the audience in a state of tense expectancy. Unfortunately for the fans, however, recent tests reveal that the wisp of chiffon which stands between the publisher and the postal laws has the tensile strength of drop-forged steel.

The worst disgrace that can befall a producer is an unkind notice from a New York reviewer. When this happens, the producer becomes a pariah in Hollywood. He is shunned by his friends, thrown into bankruptcy, and like a Japanese electing hara-kiri, he commits suttee.

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I guess I’m just an old mad scientist at bottom. Give me an underground laboratory, half a dozen atom-smashers, and a beautiful girl in a diaphanous veil waiting to be turned into a chimpanzee, and I care not who writes the nation’s laws.

Button-cute, rapier-keen, wafer-thin and pauper-poor is S.J. Perelman, whose tall, stooping figure is better known to the twilit half-world of five continents than to Publishers' Row. That he possesses the power to become invisible to finance companies; that his laboratory is tooled up to manufacture Frankenstein-type monsters on an incredible scale; and that he owns one of the rare mouths in which butter has never melted are legends treasured by every schoolboy.