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REALISM
Erich von Stroheim is a realist first, last and always. For nearly a decade he had dreamed of producing "McTcaguc." Long ago in his dreams he had decided that the story must be filmed against its real background.
f(JCH has been written and more has been said of the marvels of modern motion -picture settings. Every studio boasts of-the perfection of the temporary drawing-rooms, villages, palaces and hovels which, mushroom-like, blossom into being overnight at the will of the director.
Marvelous things they are — these realistic structures of wood and cardboard that have become such an important part of the newest of the dramatic arts. To bring them into existence there exists an army of highly trained specialists — architects, artists, interior decorators and skilled craftsmen, j
So seemingly perfect are these settings today that every possible scene for which a setting can be built within the studio's walls is now filmed against a background of make-believe. Even the exteriors of stately residences, formal gardens, huge prisons and entire cities are constructed in the studios in preference to attempting
to film the genuine article. There is reason for this preference for specially constructed studio stage settings on the part of the directors and producers. Production work beyond the confines of the studio is fraught with tremendous difficulties. The problem of illumination for photographic purposes alone — almost all present-day motion pictures are photographed under artificial light — has been sufficient in itself to deter the producer from venturing far afield. Add to this the isolation from curious sightseers, the proximity to all of the studio's resources, and the advantages of the entire studio staff's co-operation, and it is easy to see why the Hollywood director prefers to build a New York street in preference to going to the metropolis itself for his scenes. But one intrepid screen director has ventured to upset the established conventions of photoplay settings. He is Erich von Stroheim, who, in the interests of absolute realism, filmed an entire production in its actual and real locale. Real houses, stores, restaurants, mines, cities and deserts served as the backgrounds for the action of this unusual motion picture. In sharp contrast to the great majority of contemporary screen plays, not one single scene was produced or filmed in the studio!
Nearly eight years ago Von Stroheim, then struggling for a foothold on the lowest rung of the ladder of motion-picture success, read "McTeague" and recognized its screen possibilities. Penniless and inexperienced, he nevertheless made an energetic effort to secure the film rights to what has been hailed
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