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DEVELOPMENT OF THE DIALOGUE FILM 19
The dramatic contrasts of monochrome are inherent in the film's attack on our emotions. In my experience, all the colour that the cinema may need is obtainable by the use of panchromatic stock. Realistic colour in its limited forms as we see it in films to-day is quite without use to a creative director. It is not accurate realism of colour which is desirable but the ability to be able to suggest colour. Such films as Finis Terra and ha Passion de Jeanne d'Arc were filled with suggestive colour although they were actually photographed in tones of black and white.
Of particular interest in this connection is Flaherty's Moana, the first film to be photographed in its entirety on panchromatic stock. After making many experiments at all times of the day, Flaherty found that if he did all his shooting before ten o'clock in the morning and between four and half-past six in the evening, the low angle of the sun produced not only a wonderful stereoscopic effect but suggested a broad range of greens and browns on the screen. By being photographed in this way, Moana possessed a beautiful golden quality as if the whole landscape had been drenched in sun, while the trees and figures stood out in amazing relief. No further device for obtaining colour reproduction could have been desired. Some director might well attempt a similar idea in England by shooting an entire film in a half-light and perhaps achieve a typically British effect of greyness in this way.
At the moment, the wide screen and the promise of stereoscopic effect are being put forward rather gingerly as attractions. As with the other sensations, the first wide films met with a short enthusiasm in America.