American cinematographer (Feb 1930)

Sixteen American Cinematographer February, 19 30 This and That H ollywood has changed a lot from the days of not so long ago. There was a time when on most any corner one could find at most any time persuasive men talking in terms of thousands: explaining how next week when this release or that contract was signed they were prepared to pro- duce a picture that would startle the world. Today these street corner producers have vanished. Perhaps it is the talkies with their great expense that have driven these fellows away. Any- way, there are fewer conversational pictures in Hollywood today than ever before. Talkies have brought much grief to the visitors, too. There was a time when visitors in large numbers were allowed to step within the studio gates and watch their heroes or heroines go through their paces. But, alas, these days are no more. Talkies with their demands for silence have made many a maiden or matron from the distant villages weep bitter tears, for to get on a set now is a task that requires the brains of a Solomon. The Montmartre and the Brown Derby, however, prosper as a result of the banning of studio visitors. At these two eating houses, the visitor can still sec the stars in persons. And how the visitors do look. An - interesting town is this Hollywood. Imagine having Jack Qakic bump into you so hard you almost fall down. That’s what happened to one pedestrian the other day as Jack dashed out of’ Henry’s. “Who was that?’’ asked the pedestrian. And when she was told she almost fainted with joy. Funny thing, this hero worship. All For A Thrill T en men’s life were lost last month while attempting to provide another thrill for a thrill-mad public. A director, four cameramen, two pilots and four others. All sacri- ficed on the altar of what? Go to any theatre where an air picture is being shown. You hear a gasp here and there. Then from first one side, then the other you hear loud .whispers of. “Oh, that’s not real. Those scenes were faked.’’ So, after all, why risk good men’s lives providing thrills when they can be provided by trickery? A large part of the public does not appreciate the danger: does not appreciate the fact that men have risked their lives making the shots which arc so often called fakes. Ten Hollywood homes arc sad today as a result of a shot that would flash on the screen for a few seconds and then would be gone and forgotten. Is it worth the sacri- fice and the danger? The S. M. P. E. Journal W ITH THE appearance last month of the new monthly .Journal of the Society of Motion Picture Engineers, the motion picture industry was enriched by a publication that should be one of the greatest sources of real technical information of the industry. The American Society of Cinematographers and the American Cinematographer Magazine take this oppor- ,tunity to congratulate the memhers of the S. M. P. E. upon the new Journal, and wish it all the success It deserves, and that is much. This Journal should play a prominent part in the engineering problems of the picture industry, and judging from the first issue, it will fill its place admirably. One of the outstanding characteristics of the S. M. P. E. is its stimulation of ideas in the industry. This Journal will aid in this stimulation, and should be of untold worth. Mr. L. A. Jones, Editor pro tern., is to be congratulated upon the appearance of the first issue. He has made a wise choice of papers: every one of which is not only timely and interesting, but is a real contribution of practical ideas. If the first issue is a criterion, we may expect a wealth of valuable matter in the years to come, and we hope that the Journal will receive the support it so well deserves. “Uncle Carl” T AST' MONTH Carl Lsemlle, president of Universal Pictures, celebrated his sixty-third birthday. Congratulations poured in from all quarters of the globe. “Uncle Carl”, as he is known on the Universal lot, cele- brated as it were, by retiring two and a half million dollars worth of notes that fell due. And he did it without any further public financing. Quite a feat for any organization. “LJncle Carl” is to be congratulated not only on his having reached sixty-three, but upon his success as an independent and individualistic business man. He has stood throughout the past fifteen years on his own feet: has gone his own way, and as his organization reaches its fifteenth anniversary of its location at Universal City, we take pleasure in wishing this man—who landed in America in 1885 with only fifty dollars—many more years of success and happiness. Talkies HE WORLD and his wife delight in taking pot-shots at Hollywood and its motion picture makers. The chief in- door sport of most writers seems to be ridiculing the brains of Hollywood. However, is there another industry that can point to such tremendous advancement as the picture industry has made in the short time talking pictures have been in existence? A new and strange art has been taken up by the picture makers and when you see and hear such pictures as M-G-M’s “Rogue Song” you suddenly realize that the picture makers have worked wonders. Cinematographic Annual A S THIS issue of the Cinematographer goes to press, the prep- aration of the Cinematographic Annual is rapidly being “ completed. And we whisper right now that a real treat is in store for those who secure this book. The American Society of Cinematographers is a society made up of the greatest cameramen in the world. They have put the same careful and painstaking effort into the preparation of this hook that they put into their pictures. The result is going to be even greater than they had hoped for. A list of the contributors to this volume reads like the “Who’s Who” of the technical world. This book will be the first real textbook ever turned out in the motion picture industry, dealing with the outstanding technical problems. Truly, no man inter- ested in cinematography, sound, projection, theatres. laboratory work, studio problems, or any of the other technical activities can afford to miss this book. Pictures vs. Stage T F THE motion picture producers continue turning out such pretentious pictures as they are giving us at present there will soon be little need for the big musical extravaganzas of Broad- way. Metro-Goldwyn-Mayer’s “Rogue Song” and First Na- tional’s “Sally” surely exceed the stage presentations from the point of view of gorgeousness, and as the sound is reaching per- fection, the screen will be able to present a much finer show than could be given on any stage. The great Tibbett in the “Rogue Song” has caught the public fancy, and gives a performance that is superb. Those who han- dled the sound on this picture are to be congratulated, for they have given the public the finest that has yet appeared. While Tibbett is wonderful in this picture, let us hope that M-G-M officials will make us wait a while for his next one. That makes one desire to see a star all the more. Chaplin has the right idea when he makes his screen appearances so seldom. Wide Film W IDE FILM apparently is soon to be a reality, despite all the doubts expressed and obstacles discussed. Fox, is in pro- duction, is soon to present “Happy Days” on seventy millimetre. Announcement has been made of cameras and other equipment for the wide film. Apparently, wide film will take its place beside color soon.