Amateur Movie Makers (Dec 1926-Dec 1927)

CRITICAL FOCUSING Reviews to Aid the Amateur June and July Recommendations Beau Geste: Unusual scenario — Composition — Lighting. Camille: Titleless start — Tempo — Alternating Closeups. Chang: Animal possibilities — Magnascope. Convoy: News reel inserts. Flesh and the Devil: Cine silhouettes. King of Kings: Composition Lighting. A Million Bid: Double and triple exposures — Tempo and cutting — Use of shadows. Mr. Wu : Composition — Lighting. The Night of Love: Shadow emphasis— Photography. Seventh Heaven : Use of moving camera — Lighting. * White Gold: Without scenario — Economy of setting. The Way of All Flesh Paramount.Famous.Lasky Directed by Victor Fleming Photographed by Victor Milner Simplicity of Story: Despite its identity of title, this has nothing further to do with Samuel Butler. The story, drawn from the life of the cashier class in the Milwaukee of pre-prohibition days, boasts no plot complications, no melodramatics. Its amazing power rests wholly on the fidelity of its naturalistic detail, on the saliency of its characterizations and the subtle use of the camera. Still another instance of the ability of the cinema to portray realism, even more effectively than the novel. Absence of Titles: Due to the cinematic minded Emil Jannings who is only officially credited with being the "star," but whose directorial touch is obvious throughout the entire film, there are practically no titles. From the opening sequence in which the camera glances down upon the cat and the milk bottles upon the door step, all exposition and plot are developed wholly through the potency of the camera and the pantomime of the players. Twenty-six Edited by EVELYN GERSTEIN THE Photoplays Listed Here Are Recommended To Amateurs For Study In Their Local Theatres Because The Particular Characteristics Noted Below Can Be Used By Amateurs To Advantage In Filming Their Own Pictures. The Editor ' Would Be Pleased To Receive Suggestions Of Similar Helpful Instances Which Have Been Observed By Our Readers. Photograph By Metro Goldwyn Mayer CAUGHT IN THE SPIDER'S NET Effective Framing Of A Ship Scene In Captain Salvation Use of Moving Camera: In the carnival scenes the drama is intensified by the use of a moving camera which pursues the actors on the merry-go-round, and regulates the tempo of the picture. Amateurs will do well to study this film, because more than any other shown this season, it exemplifies the cinema possibilities in a simple tragedy and in genre details, which in themselves make drama, especially when exposed by a camera. Captain Salvation Metro-Goldwyn-Mayer Directed by John S. Robertson Photographed by. . William Daniels New England Setting: Similar settings are possible to many amateurs, especially during the summer when New England homes of the pre-steamboat days are more or less open for inspection, and are at their loveliest. This film is best when it works with natural settings rather than with models, and the photography of the scenes on the rocks, with the lovers silhouetted against a stormy sky, is unusually beautiful. Use of Moving Camera: In the shots in the crow's nest and above and below it, during the great chase of the hero by the villain, and vice versa, the moving camera, shifted in and out of the cables and ropes is as much an actor as any of the principals. There are some effective shots down in the hold of the convict ship of convicts glimpsed through their bars. Old San Francisco Warner Brothers Directed by Alan Crosland Photographed by Hal Mohr Use of Models: In the earthquake sequences, Mr. Mohr has worked a marvelously realistic series of scenes, both of the earthquake and the fire that followed, through the use of models. The Vitaphone, recording the confusion of a terrified mob, enhances the horror by adding auditory chaos to visual. The models are used both in long focus and in close-up, and in both instances they are amazingly effective. Lighting and Composition: This is the same Hal Mohr who worked as camera man in "A Million Bid" uurii