American cinematographer (Jan-Oct 1925)

January, 1925 AMERICAN CINEMATOGRAPHER Seven Camera Review ^ws* of the Last Year f J C <I The following article was originally written by the editor of this publication for the Exhibitors Herald, in which it appeared as a brief and sketchy review of cinematography in 1924.) A resume of the cinematography of 1924 probably will not, in general, reveal any startling changes from that of 1923. Yet there have been such changes and improvements, as imperceptible as they might be as over last year. The progress of cinematography has been gradual, though rapid; and the contrast only asserts itself when present photography is compared with that of two or three years ago. In addition to the evolutionary improvement that was manifested throughout the field of cinematography, the closing year saw photographic achievements that crystalized, in a vivid way, the advancement of the art of the camera since the advent of practical motion pictures. Douglas Fairbanks' "The Thief of Bagdad" demonstrated what a flexible thing cinematography is, and drove home its importance to the layman who, for some inexplicable reason, has always accepted its rapid strides as a matter of fact. But just as the story of "Bagdad" itself intrigued the imagination, the cinematography therein did likewise, for the reason that both were so greatly predicated on each other. Aside from its other ramifications, this production of Fairbanks was an irrefutable contribution to the science of cinematography. It threw off a restrain born of timidness in production matters, and conjured a confidence for others to avail themselves of the fullness of a science which, like electricity, apparently has more before it than behind it. Let it be said that in encouraging cinematography, the producer is broadening the present and the future of the industry itself, for, without being committed to an ambiguity, the picture is necessarily circumscribed by moving pictures. Too much credit cannot be given to the A. S. C. Members Make Great Contribution in Field of Cinematographic Progress men responsible for the cinematography in "The Thief of Bagdad" — ^namely Arhtur Edeson, staff cinematographer for Fairbanks, and Philip H. Whitman and Kenneth MacLean, who worked with him on the special effects. All three are members of the American Society of Cinematographers. Another of the 1924 creations in cinematography which should graphically appeal to the popular mind is "The Lost World," which First National is producing by arrangement with Watterson R. Rothacker. Speaking conservatively, this production should prove epoch-making. It is distinctly a "photographic picture." It opens up a vista, the like of which has always been shrouded except for the highly imaginative pen. Arthur Edeson handled the dramatic filming in this production also, and First National evidently thought so much of its possibilities that they induced Fred W. Jackman to leave the directorial fold long enough to supervise the photographing of its special effects. With him were associated Homer Scott and J. D. Jennings. All are members of the American Society of Cinematographers. Space could be consumed indefinitely in enumerating the meritorious cinematographic efforts of the past year, but let it suffice to mention those which have appealed and will appeal most to the exhibitors' enigmatic patrons. In this regard, however, it might be well to recall "The Ten Commandments" which, though it should be properly classified with the previous year, was so revolutionary cinematographically that its results are still being felt. It was photographed by Bert Glennon, a member of the American Society of Cinematographers. Color cinematography, through Paramount's production of "The Wanderer of the Wasteland," caused critics and public alike to enthuse, but the widespread adoption of color is still a matter for the future to decide.