The educational screen (c1922-c1956])

194 The Educational Screen groups of people are shifting uneasily. But he goes, and we can turn our atten- tion again to earthly things,—namely, lunch! Now I find a chance to talk briefly with the director of publicity, who tells me what the picture is to be. It is the story of the Crusades: of how Richard the Lion-hearted organized his Crusade and joined forces with Philip II of France in the Holy Land, taking with him his favorite, the Earl of Hunting- don; of how Prince John and Guy of Gisbourne plotted to bring about Rich- ard's death abroad, and to place John on the throne of England; of how Hunt- ingdon learned of the plot through Maid Marian, and, keeping from the King the true reason, begged to return to England; of how Richard refused him; of how Huntingdon deserted and started home to fight for Richard; of how he was wounded, captured, and thrust into prison; of how he escaped, and returning to England, became the Robin Hood of the legends, robbing the rich to feed the poor, fighting Prince John at every turn, and winning back Richard's throne for him at last. A few more hurried words and a last bit of information: "What you see here is only the be- ginning. We expect to be five months making the picture." Mid afternoon. Richard and Hunting- don are again the central figures against a moving background of color. It is a great living tapestry. And between those short intervals when the picture moves, and the splendor of the Middle Ages lives briefly, there are long ones of preparation, repairing, readjustment, patient attention to the thousand details that make perfection. "I want a hammer and a tack," says Huntingdon in one of the pauses, and waits long enough to have a small de- fect in his sword belt mended. The sun grows hotter and brighter, but at last the scenes before the King'i throne are finished. Now comes thl bustle and commotion of a great hegira across the field. The high wooden platj form and cameras are being moved, thl big reflectors follow, and the wind-ma^ chine, borne on a score of shoulders brings up the rear. Back on the throne there is a relaxation of the tension. "Gunga Din! Gunga Din!" bellows Richard the Lion-hearted, teetering on the steps. "Water!" Three Gunga Dins materialize suqk denly with cups of water, after which re-j freshment Richard is himself again, doffs his crown and wig, and flowing mous- tache, and placidly abdicates for the day. But Huntingdon, about to receive his crown from the Queen of Love and Beauty, is in difficulties again. The crown, it seems, is not forthcoming, and so the ceremony is somewhat delayed. But it all comes right in the end. The Queen of Love and Beauty, gor- geous in gold brocades and green and royal purple, stands out against the vel- vet hangings and cushioned throne, and places a wreath of gold leaves on the hero's head. The last scene has been shot, the last close-up caught, the last "still" photo- graphed. Knights and ladies, men-at-j arms and pages, nobles and serfs all mingle in the sunshine. A man with a megaphone is speaking to them. I catch only fragments of what he is saying, but enough to understand that they are dis- missed for the day, and are to be mad*. up and on the lot at ten-thirty tomorrow. A real cheer this time, and then the eight eight hundred or so "extras" stream off the field to the dressing rooms. But the day is not over for the rest. There are still conferences, more confer-* ence-,, and routine work that will keep many of them busy till late at night. I have watched the work of one day,* and this is to go on for five months—