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110 COe ^Dtattz
fensive; yetgMiss Snow used not a particle of "makeup" and as a result of adept pantomimic expression "put it over" without as much as one insert or subtitle that included any explanations of this particular character. "Slang" such as is a requisite for this type of play was wholly tabooed, the director evidently desiring to experiment with clean pantomime suggestive of country and city life. In this he succeeded surely.
The second production of the evening was "Carmen," a superb and accurate presentation of the operatic version without adequate musical accompaniment. Undoubtedly this release was intended to require an elaborate musical setting. Nothing that has been presented since has contributed to a greater extent to the motion pictures' scope of interpretation. Here, indeed, was an opportunity to at least see the great operatic spectacles over which the nation has raved, without paying prohibitive prices for seats. Had the musical side of the production been what it undoubtedly was intended to be, the importance of the effort as a whole was unquestionable. (At a later day the writer viewed the Thanhouser production of "Tannheiiser," with the Wagner score providing the musical accompaniment.)
Miss Snow, as "Carmen," showed an amazing conception of so difficult a role for one whose environment has been removed from important creative opportunity. Not even the all-compelling influence of the presentday director can account for such a portrayal, and if this is a tribute, it is nevertheless forthcoming, and that, too, from one who has seen and heard all of the "Carmens" of two generations. Miss Snow is not a Calve dramatically, nor an Olga Nethersole, but as an illustration of studio achievement this performance was representative.