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is, 1920. This was a very interesting and attractive story of two girls, identical twins I suppose they were, who were so exactly alike that they could only be told apart by their clothing and their entirely different methods of doing their hair and so on. It happened that in the beginning one of them became rich and opulent while the other remained in the same social scale or even became poorer. The difference in their opportunities which is the natural result of these conditions is the main theme of the film. The difficulty from the producer's point of view is to show that difference while at the same time preserving the essential identity of their innate appearance.
When that impudent and unmoral minx, that 'handmaid of the Art' of cinematography, called 'the Vivaphone' for the sake of euphony, came to its inglorious end at the murdering hands of the ice-cream girls who would not put the needle on properly, it had a more worthy re-birth in a sphere of actual utility. For it was, in another shape, used to make sure of the synchronism between the two halves in various forms of the trick of double-photography.
There is one form of double-photography which is so called, although it does not really come within the meaning of the term. In The Pipes of Pan, I told of it as a reflection of figures who appeared to be dancing on the surface of a lake. In another instance, a semi-transparent mirror reflects the image of a 'ghost' off-stage, apparently into the midst of the 'live' actors in the main scene; but in both these cases the photography is simultaneous and no difficulty of synchronism arises. But real double-photography is that device by which one actor plays two parts in one scene. A shutter is fixed in front of the camera so as to hide one half of the scene while the other half is taken. Then the shutter is changed over to the other half and the actor, probably disguised as a different person altogether, crosses to the other side of the scene and plays the appropriate action to the now non-existent person he has previously portrayed. It is very difficult to time it exactly enough to be at all convincing.
To overcome this difficulty, and to enable an actor in one half of a scene to remember at any given moment exactly what he was doing in the other half at that moment, I hit upon an ingenious idea which worked perfectly. I got hold of an old-fashioned phonograph, not a gramophone, which had a wax cylinder instead of a disc. By speaking into the funnel of the instrument you could make a record which could be 'played back' as often
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