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Ten
AMERICAN CINEMATOGRAPHER August, 1924
The Editors' Lens f°cused by FosTER Goss
C]j Occasionally there comes a production to which cinematography is so obviously vital that even the most casual observer cannot help but recognize it as a "photographic picture." When we say "photographic production" we do not wish to be ambiguous but simply are aiming to stress the outstanding importance of cinematography in some productions. Of course the careful appraiser of motion pictures has always recognized the essential importance of photography even in the face of those who, from self-interest, would minimize — but the fates be thanked for the "photographic productions." They serve others besides their own masters.
O Pictures like "The Ten Commandments," "The Thief of Bagdad" and "The Sea Hawk" are undying testimonials to the art of the cinematographer. They indicate, in a vivid way, abilities which the layman seldom, if ever, appreciates. They bring the gala days for the cinematographer — provided of course he is given credit in conjunction with the "photographic production" in question. Perhaps he is given a mention in the reviews; if he is not singled out personally, then at least there are a few lines devoted to his cinematography — something which even the most slip-shod reviewer could not safely ignore as long as he had any conscience at all.
Q These big "photographic productions" do more than earn money for their producers and exhibitors, fame for their stars and directors, and a bit of praise for the cinematographers who filmed them. They indirectly stimulate the appreciation for superior cinematography generally. They serve to bring home the fact that there is something to being a cinematographer besides turning the old proverbial crank.
I]j Thoroughly grounded motion picture and drama editors have never been blind to the unvarying worth of cinematography. They have always been cognizant of the back-stage endeavors and trials of the cinematographer that from time to time are crystalized in some production of overpowering photography. And they are not timid about singling those endeavors out for becoming mention— as is exemplified by the article which, written by Edwin