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l8 CELLULOID
its craze for simply hearing speech and seeing moving pictures of the speakers. No longer do we experience a thrill of delight when a whisky-and-soda is mixed to the accompaniment of the Niagara Falls. Audiences have become sound-conscious and the cutting of sound is not without appeal to their imagination.
The first new sensation to which producers turned their attention was their old friend the colour film. They believed — though how they could have been so short-sighted it is difficult to understand — that a widespread use of colour would solve their problems. Accordingly they experimented with the public's taste for blue and yellow and green and red. But unfortunately this riot of colour, smothered over Whoopees and bits of HelVs Angels, met with an apathetic reception from an already jaded public. The latter displayed no particular interest in colour films as such, and where successes were made they were not substantial enough to warrant the increased expenditure.
I have explained at length in " The Film Till Now " why colour is unnecessary in the dramatic theatrical film and how it definitely diminishes appeal. These reasons, I think, make clear to a large extent why the public was unresponsive, why colour must always remain a speculation from a commercial point of view, and how for aesthetic reasons colour is a white elephant to the cinematic medium. In any case, how is one to cut in terms of colour? Only on the rarest occasions and then purely for a decorative purpose, such as in posters, cartoon and abstract films, can I visualize colour in the cinema.