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CRITICAL FOCUSING
Technical Reviews to Aid the Amateur
Serenade
Paramount-Famous-Lasky
Directed by. .H. D'Abbadie D'Arrast
Photographed by. . .Harry Fischbeck
Ideas From Music: Particularly appropriate to the musical character of its plot, the director of Seranade has drawn upon various traditions of the related art of music to achieve cinematic harmony and emphasis. Most obvious of these borrowings, the art titles frequently suggested bars of music, the titles themselves lines of a lyric. More subtly, musical terms such as Stacatto, Largo, etc., were used as titles to convey the spirit of the action. And, most delicate of all these interesting experiments, the tempo of cinematic movement was indicated by and synchronized with the indicated musical tempos.
This diverting experiment suggests the possibility of a variance of the usual photoplay plot form, for, as the drama has its traditional forms, so with music, as illustrated by the sonata or symphony. Carrying the idea flirted with in Serenade to its logical conclusion, perhaps some musically trained amateur will give us a motion picture in true sonata or symphony form, synchronized in every detail with a musical composition in the same form.
JUST THE THING
Here Is a Simple Little Hint for Amateur
Filming, If You Have Any Girders Handy.
Photograph by Paramount
DEVICE FOR DIRECTING
Dorothy Arzner Gives Her Megaphone Double
Use; Its Cardboard Frame Serving as an Aux'
iliary Finder to Aid in Selecting the Portion of
the Scene Desired.
Photograph by Metro-Goldwyn Mayer THE METRONOME IN THE MOVIES King Vidor Uses This Musical Aid To Achieve Rythmical Quality. Success of This Method Is Attested by The Big Parade.
The Enemy
Metro-Goldwyn-Mayer
Directed by Fred Niblo
Photographed by Oliver Marsh
The Underlying Motif: In December this department pointed out the possibilities of development of the plan of carrying an underlying motif throughout a photoplay, as partially illustrated in A Woman of the World, White Gold, and as suggested but neglected in Uncle Tom's Cabin. In The Enemy we see this thought carried to a logical conclusion. The subject of the picture being the drab horror of war, as contrasted with its fictional glory, the director has chosen as the symbol of this drabness, monotony and horror a closeup shot of the feet of marching men, and drab, monotonous they certainly are, while the element of (Continued on page 126)
Eighty-eight
Photograph by Metro-Goldwyn Mayer