The Moving picture world (February 1920)

February 26, 1921 MOVING PICTURE WORLD 1059 Elmer R. Pearson and Paul Brunet See Only Brilliant Outlook for Industry TWO of the ablest and most active human factors of progress in all that concerns the welfare of the motion picture industry are now on record with a message that should completely dispel the gloom which lately has been felt and expressed by many who, lacking accurate information, were unable to read the signs of the times, says Pathe. This message is not issued by any "arm chair" Professors of Optimism. It comes from self-created forces in the front ranks of authority and influence in the great world of pictures, and is based upon facts gathered at the expense of thousands of miles of personal travel to and from the fountain heads of all such facts. A few weeks ago Mr. Paul Brunet returned to Pathe headquarters in New York City provided with first hand information regarding conditions at this country's important centres. The result of this mission of intelligent inquiry was a widely published statement effectually and definitely disposing of the sensational printed declaration that picture production was "paralyzed." A Brilliant Future On the contrary, Mr. Brunet discovered the most healthful of all possible conditions —the existence of a general and sound policy of preparing for a brilliant new era by correcting the fault of over-production. So much from the production angle. What about the consumption situation? What is the feeling of that powerful contingent depended on to absorb the product of the studios — the exhibitors with their close touch with the public and their heavy investments and overhead expenses? Here enters the result of the first hand investigations which complete the present message of confidence. In the interest not only of Pathe Exchange, but of the whole picture industry, Mr. Elmer A. Pearson, director of exchanges, had been not less thorough than President Paul Brunet in his personal quest of facts influencing the present and immediate future of distribution and exhibition. Important Object His visits to the exchanges under his control in all sections of the country had the more important object of bringing him into personal contact with representative exhibitors. "In starting on this tour of investigation," said Mr. Pearson on his return, "I was actuated by on feeling of alarm. The reports from our various branches had been almost uniformly satisfactory. It seemed to me that a temporary lack of confidence was due rather to psychological than material causes. "I found the exhibitors less affected by the wave of pessimism than anybody else. They were going right on building fine, new modern picture theatres, and eagerly on the lookout for more of the higher class production. Their houses were well-patronized. Very few exhibitors had observed any diminution of attendance traceable to disturbing labor conditions, or to any other cause. "But this might be called the negative result of my inquiries. There was, however, a positive result which took me a little by surprise, while it gave me the delight of a great and fortunate discovery. This discovery disposes in a very great degree of the contemptuous charge of 'commercialism' so often made against distributors and exhibitors of motion pictures. "It has become fashionable in certain quarters to declare that picture exhibitors make it impossible for producers to give any part of their output the dignity of 'literature,' in the sense that the stage is a literary medium. "They are accused of blindly pandering to the lowest level of public taste in order to insure the keeping of their houses filled, and of denying the possibility of any profit resulting from the display upon their screens of great drama sumptuously staged and consummately acted. That this charge is unqualifiedly false, is proved by the prompt and enthusiastic acceptance of 'The Devil,' in which all the elements entering into the presentation of great drama, either on stage or screen, are markedly present. And 'The Devil' with Mr. Arliss is by no means the only example. "This, however, is not the discovery referred to. What I have reference to is a development now past the germ stage which marks the entrance of the industry into a new and brilliant era which soon will find every city of consequence supporting one or more motion picture houses virtually dedicated to the exhibition of pictures characterized not only by highly capable direction and acting, but by their literary merits. "Playgoers in the larger cities are familiar with this classification of theatres according to the general character of the at THOSE who have come to the belief that motion pictures have exhausted all possible channels of novelty, of advance, will need to revise their judgment, according to advance reports of a striking new development which will first make its appearance in "Sacred and Profane Love," an Elsie Ferguson Paramount Picture produced by William D. Taylor, says the releasing organization. Narrative titles superimposed upon actual scenes have been evolved by Producer Taylor and Cinematographer James C. Van Trees as a means to "put over" title ideas more forcibly than has been possible by previous methods. Under the new system the people and set under discussion are seen soft-focussed in the background back of the title — thereby giving the mind two methods of absorbing the title idea. For instance, there is the great concert scene in which Conrad Nagel, as Diaz, plays to an audience in which Miss Ferguson, as Carlotta, is the most enraptured observer. How It Is Done The title flashes on, "So Diaz weaves over them the enchantment of Chopin and himself, vibrating nerves to almost unbearable ecstasy, filling every corner of the hall with silver and gold of sound." Through the words one sees Diaz at his piano and the audience bending forward, interested and expectant. At the close of the title the words flash out, the scene comes into clear focus and the action goes on without a break. On seeing the new device for the first time, Edward Knoblock, noted dramatist, said, "It is the cleverest scheme for increas tractions presented. The amusement-seeking public naturally classifies it as the different classes each forming a community of intellect and taste sedulously cultivated and catered to by a given management, or by several, according to the size of the community. "Thus the name and location of a certain theatre defines in a general way the nature of the attractions it offers, and while it continues to deserve it, enjoys a steady and loyal support. "The existence of a similar classifying process in the case of picture houses is a highly favorable indication. It promises due attention to and appropriate rewards for every legitimate kind of picture production. So far as he can be such without disturbing program requirements each exhibitor becomes a specialist, and he can count on the loyalty of the community of taste of which his theatre becomes the habitual rendezvous. "In every city or town of any consequence there is, and will continue to be, a profitable audience for worthy examples of every legitimate species of picture production — not excepting those of the highest art and literary excellence. Those who cry 'wolfl' when there is no wolf do not change the essential facts, they merely delay a general and concrete return of confidence." ing the continuous flow of a screen story that I have ever seen." Also the new system is saving of footage for often minor bits of action may be merged with a title — instead of showing both action and title separately as has been done before. This is shown in the scenes after Carlotta finds Diaz in a Parisian absinthe resort. Under the old scheme footage would have been wasted by title and action shots. Under the new, one sees the title, "Carlotta's cheeks burn may times before they reach the house" and between the letters one sees the woman escorting Diaz to his tenement. No more extended treatment of this episode is necessary. Obviates Waste Footage Along the same line is a "split screen" treatment of presenting character of the photoplay. The character is seen sitting or standing on one side of the screen while his name and description is on the other — again obviating waste footage through the old system of separate title and introductory action. These new developments are just part of the many things incorporated in "Sacred and Profane Love" to make it an exceptional production. Miss Ferguson plays the same role in which she scored so heavily on the speaking stage — with the added important scenes possible to the enlarged view of the picture camera. Julia Crawford Ivers wrote the scenario. Playing the leading roles of Diaz and Ispenlove are Conrad Nagel and Thomas Holding. Nothing has been left undone to put the great Arnold Bennett story on the screen in a manner fully worthy of its importance, it is said. Innovations in Titles Announced for "Sacred and Profane Love, "a Film Production of Bennett Story