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When NATURE Is YOUR STAR
And All Outdoors the Amateur's Studio
THE END OF THE CHASE
MAGNIFICENT, alike, as hero or villain, Nature is the world's greatest actor.
Nature, in its majestic grandeur and in the wonders of its animal life, shows every mood that the greatest actors of all time can claim. It is impressive, awesome or intriguing, villainous or humorous to a far greater degree than the foremost actor of any time since men found himself in the Garden of Eden.
But Nature is also the most temperamental of actors. Its moods are of the moment, now mild, now tempest
By Rutgers Neilson
uous, always striking in their vividness and absolute reality.
Realism in screen drama and also in comedy is one goal of both the professional and amateur movie maker. Nature offers a vast field well worth focusing upon. It is drama awaiting capture by the camera. Occasionally Nature is captured cinematically in wonderful professional films made in far places, such films as Nanook, Moana, Simba, Chang or Alaskan Adventures, films in which Nature challenges all human efforts and wins hands down.
Of course most filmers can not easily travel to the world's ends to photograph Nature in its most unusual moments. Still a study of such pictures as those mentioned reveals what may be done. They are, furthermore, replete with suggestions which the amateur may apply to his own travels, and even to a week-end canoe trip, a hike into the woods, or a camera stroll through a large city park.
To be brought to the screen in its true artistry, Nature must be mirrored. More than a mere knowledge
ILLUSTRATIONS FROM ALASKAN ADVENTURES Courtesy of Pathegrams One-hundred-fifty-eight
RUNNING THE RAPIDS
of lenses, exposures and other technicalities is needed to reflect upon inanimate film the comedy and drama of Nature. It must be photographed with understanding. Only the patient and adventurous cinematographer can make a true and really vivid film of 60 subtle and yet impressive an actor. This should in no way discourage the amateur, for if he did not possess patience and a spirit of adventure, he would never have been attracted to cinematography.
When photographed in all its august actuality, Nature reigns supreme on the screen. The mere human actors in Hollywood studios, and all amateur movie makers, have overpowering competition in Nature, as itself, caught accurately by the camera.
Sheer natural beauty, the wonders of strange creatures, the primitive and the real, offer more thrills than any he-man and flapper romance. The great Nature films are thrillers that no director could devise. To quote but one example, what studio could arrange as momentous a mob scene as that in Alaskan Adventures, staged by Nature, where swirling masses of millions of salmon fight their way upstream to their spawning grounds, to lay their eggs and die? Nature alone has the unlimited power of the ultimate grand manner.
The great Nature films are indeed epics of the cinema. They are as worthy of study as the classics of literature and the theories of the scientists. They prove that the world can still learn from a motion picture things little dreamed of in this era of civilization, and to the amateur movie maker they are gold mines of suggestion and inspiration.