The Photo-Play Journal (Jul 1919-Feb 1921)

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February}, 19 2 1 13 Canadian Rockies where we wiU 'shoot' many of the exteriors . . . particularly the snow scenes. Ralph Connor has given the world in 'The Sky Pilot' a rare literary gem, radiant with gentle smiles, a wealth of tenderness, and the indomitable spirit of the pioneer in his struggle with the fiercer moods of eternally ruthless nature ; therefore, I am responsible for its translation to the screen, and duty-bound to preserve its spirit and atmosphere, and truthfully depict its characters." Was he going to stick to rural dramas and outdoor dramas and gentle themes and homespun plots? Not by a darn sight! "I intend to vary locale and atmosphere in each photo-play I make," he replied, with a glint of determination in his eyes, "because I believe human nature is very much the same, in Paris, France, or Paris, Kentucky! I believe it quite possible that human beings go through the same emotions, stages of life, and phases of consciousness, anywhere . . . on the civilized portion of the globe, at least. "Someone wrote a book once about the psychology of humor, and stated that people were stimulated to laughter and their risibilities generally affected in different ways and different climes. In other words what would make a Spaniard burst into a gale of glee might evoke anger in a Scandinavian and utter unconcern from an Englishman. I believe this is somewhat true in regard to certain native or local comicalities, but there is a universal humor, too, unless I miss my guess! Charlie Chaplin is a universal figure. He is laughed at — at least I hear so in The Queen The King China, Russia, India, France, Italy, Great Britain and other countries, and has his prototypes among the comedy kings of these various nations, all of whom have attempted to minutely and precisely imitate his antics and copy his make-up. ' "Which leads me to the conclusion that, as the motion picture is speaking a universal language, it is for us producers and directors to infuse some element into our screen stories that will make them universally understandable and appreciated. 'The Turn in the Road,' my first multiple reel effort, is imbued with an underlying philosophy that will touch the deeper springs of Christian and Hindu, white and black, Englishman and Greek, and of all other people. Not that I wish to take credit for the success of this celluloid document — all success must be accredited to the one inexhaustible source of all inspiration, the infinite sustainer, whom we express in exact ratio to our spiritual knowledge." I suggested that we might be drifting into deep metaphysical waters. Breaking into a broad smile, the King of the Vidors gazed at me intently, as though searching for a grain of sympathetic understanding. Then he answered my suggestion — and answered also a question I had left unspoken ! "Let's not drift," he said, "but let's get down to rock bottom, as those of 'the old school' put it. I believe in pictures with a purpose, that is, a high purpose. Some will talk about Art for Art's sake, whatever that is, while others will turn down their thumbs at what they call preachments, yet I am going to make photo-plays that will be preachments {Continued on page 49)