Amateur Cine World (January 1936)

Film Construction: : sis : Christmas film, include be built up from a sound basis : Fe er I give the right atmosphere. ‘OR a film to be successful it must If you are making a and this fundamental idea of securing a strong basic construction should never be neglected, no matter how trivial the subject of the film may be. A strong basic structure is just as important in a nature film, or a documentary film, — as in the most complex story-film. The construction can be summarized under four headings, the Beginning, Development, Climax, and Close. It will be found, on examination, that most films can be split into these four sections of action quite easily. In order to study the method fully, it is worth considering two examples, firstly a typical documentary subject, “ Christmas Day,” and secondly a well-constructed talkie, Fritz Lang’s ‘‘ Testament of Dr. Mabuse.’’ For these the four headings work out as follows :— “ Christmas Day.” 1. A child awakens. 2. The theme is shown, here the fun and exciting anticipation of the Day. 3. The Christmas tree. 4. A child drops to contented sleep. “ Dr. Mabuse.” 1. The sinister opening, a room shaken by throbbing machines, a spy, a ruthless attempted assassination. 2. Complicated detective process leading up to 3. Spectacular fire episode, the main climax. 4. Quick and dramatic denouement. These four main points of construction naturally ought to appear in the treatment, and special care should be given to their film form when the scenario is evolved. How to Make a Christmas Film Hence, it is important to analyse them with this in view, and to arrive at a filmic construction that will give them the necessary emphasis to make a strong impression on the audience. (1) The Beginning. Attention is always rivetted on the screen at least for the first minute, and it is important to exploit this fact to the full by coming to grips with the theme of the film in a few, well-chosen shots. For example, ‘‘ The Barretts of Wimpole Street’? opened well, the whole atmosphere of the house being at once shown by the behaviour of the dog, in four well-chosen shots. A documentary of Christmas day might open thus :— (1) Fade-in. C.S. Child in bed; opens one eye, sleepily. . (2) CS. Bulgy stocking at foot of bed. (3) CS. Child sits up in bed, remembers the Day. Clear Introductions Important These three shots instantly impress upon the audience that it is actually Christmas morning, The other members of the family can then be introduced either by an orgy of stocking-grabbing (if children) or by sedate greetings at breakfast. Clear introductions are important; but throughout the opening sequence the right atmosphere must be maintained. A good comedy touch is to show one grim individual who disapproves of all the goings-on, and sits in a perpetually morose state in a deep armchair. In contrast, the rest of the party appear to behave with enhanced gaiety. (This is the type of part the unfortunate cameraman may have to play, all the shots being made at once, the morose expression being easily attained . by the sight of a novice fumbling with his camera !), (2) The Development. This vague heading really covers the whole preliminary plot. The director must see to it that he retains a reasonable measure of entertainment value in this. partyof the action. A documentary film that hangs’ fire in the middle is doomed to failure more dire than an equally dull story-film, since the latter can often be saved by a strong (if far-fetched) climax. Burlesquing Horror Films In a film dealing with Christmas Day, there is no lack of incident leading up to the climax, which is assumed to be the tree episode in the evening. A general air of comedy, mingled with mystery and suspense, should be aimed at. More experienced directors will find here an excellent opportunity to burlesque horror films in general. Doors open mysteriously—into the larder. A knife is stuck into cook—and a mince pie extorted. A ghastly figure draped in folds of cloth—Mother getting down a dust sheet. Keys turned with a snap, horrible, shapeless parcels... . The material is limitless ; the only stipulation is that it must to some extent logically lead towards the climax. 456