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February, 1926
AMERICAN CI NE M AT O GR APHER
Nineteen
PARIS
BRUSSELS
LISBON
JERUSALEM
RENE GUISSART
Atmospheric Shots in Any Part of Europe
Taken according to your own instructions in an artistic manner to match the phography of your production.
OFFICIAL CORRESPONDENT IN EUROPE FOR:
American Society of Cinematograp/ien ; Frank D. Williams
118 Avenue des Champs-Elysees
PARIS
C»blc Address:
LOUVERANDE-PARIS
BUDAPEST
GENEVA
CAIRO
ATHENS
ALGIERS
ETC.
ETC.
Akeley Camera
AN INSTRUMENT OF SUPERIOR ACCOMPLISHMENTS
Chosen by
AMUNDSEN for the
NORTHFLAHERTY for the SOUTH SEA ISLANDS
A Necessity for Every Production
Time Payments May Be Arranged
AKELEY CAMERA INC.
244 West 49th Street New York, N. Y.
matography is standard. However, it isn't. Therefore, knowing what the deMille "idea" is, the cinematographer must literally sense the best manner in which to handle the photographing of any one given scene. Mind you, it is not said that he gropes about wildly for ideas. If artists have souls and if cinematographers are artists, then it might be ventured that the camera artist's soul is susceptible to inspiration when he endeavors to crystalize some scene in this subtle kind of direction. But behind that inspiration there must be thorough and basic knowledge, not only of the fundamentals of cinematography but of the working methods of the director whose "style" is universally heralded wherever motion pictures are shown. For i n s t a n c e, in Mr.
deMille's "G rump y," the theme revolved about Theodore Roberts in the role of a grandfather. There was a great deal of grouchiness about the characterization, although it radiated its share of humor in the aggregate. The cinematography for this production may be said to follow the lines of something definite and sharp, to use a technical designation. It is severe and conventional, whereas that of "Midsummer Madness," a production made by Mr. deMille some six years ago, struck the chord of softness, of moonlight, and of the romance of youth. That of "Only .IS," while it had to fit in with a decided love theme, called for something less vague and more mature. The lighting and the exposures had Jo be conducive of something more substantial, more sophisticated. Then we
come to "The Fast Set." The cinematography properly was light and airy — "fast," as it were. There could be no sombreness about it, such as in the stark "Grumpy" and, more recently, "The Splendid Crime," just completed. The latter production called for an atmosphere that is gloomy, with long shadows and thin rays of light. There is much action in semi-darkness. There is the extinguishing of all lights but that coming from the lamp on a table in the center part of a room; then that too is put out with a resulting darkness that is to be pierced by a flashlight. And sio it is that we arrive at a treatment in cinematography that represents the other extreme from something breezy and rollicking as that in Barrie's "What Every Woman Knows" which Mr. deMille produced.