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CRITICAL FOCUSING
Technical Reviews to Aid the Amateur
Wild Geese
Tiffany-Stahl
Directed by Phil Stone
{Max Dupont Earle Walker Jos. A. Dubray
Cinematic Moment: If we consider that truly cinematic which no other artistic medium can do so well, then the night scene in which the grim farmer is seen gloating over his corn crop as he passes between gigantic stalks, lantern held high to reveal each precious cob, is truly cinematic. The theatre could never approach this stark realism. Still photography could never express the fine gradations of covetous pride revealed by his mobile features. In short, for a brief space of time this film breathed cinematic essence.
Tinting and Toning: Color added further strength to this scene. The cornstalks were blue in the shadowy blue of night. The lantern, with its yellow glow, cast a warm light on the grain-miser's face. This is an outstanding example for study of the value of color emphasis.
Scenario: The story of "Wild Geese" is of the new school, which gives truth its due. It is life, one
DIFFICULT SHOTS
intense motion, not formalized or used geometrically, an example to amateurs of how a film may be given an exciting quality and a very real emotional appeal by filming crowds which are available to him so frequently.
Rapid Camera Work: An energetic and mobile camera followed a basket ball game, keeping the principal characters well in focus without giving the appearance of a carefully arranged closeup. This is very practicable for an amateur hand-held camera.
Sorrell & Son
United Artists
Director Herbert Brenon
Photographed by. . James Wong Howe
Explanation by Suggestion : This photoplay ( which is reviewed elsewhere in these pages from a nontechnical point of view) offers an admirable example of briefing an explanatory portion of the scenario. We are asked to understand that the juvenile has been offered and has partially indulged in a gay week-end in London. Here is the continuity: close-up of two champagne coolers; long-range shot of a row of dancing {Continued on page 47)
AS SOLVED BY THE PROFESSIONAL
kind of life, and its genuineness feeds the desire of this movie-goer for more pictures of equal merit.
The Fair Co-ed
Metro-Goldwyn-Mayer
Directed by Sam Wood
Photographed by John Seitz
Crowd Effect: The crowd scenes give an extremely vivid sensation of
SCENES (ABOVE) FROM "THE LOVELORN,"
(LEFT) FROM "THE CROWD" AND (BELOW)
FROM "ROOKIES."
Twenty-jour