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THE AMERICAN FILM
Woman of Paris. It is quite unnecessary to analyse such movies at length, for they nearly all conform to what has already been described as the formula of man, woman, and sin. They are slick, facile, flashy, well-photographed pictures, displaying here and there touches of Germanic influence in their camera angles. They are always rapid in pace, being briskly cut, with what are usually termed ' snappy ' titles. It will suffice to mention : Mai St. Clair (Good And Naughty, The Show Off, Gentlemen Prefer Blondes, etc.); Monta Bell, assistant to Chaplin on A Woman of Paris (Broadway After Dark, Man, Woman, and Sin, Pretty Ladies, etc.) ; William Wellman, who must be given praise for making Wings, although that film's merit lay with its fifteen cameramen, and You Never Know Women, from Ernst Vadja's story; Victor Heerman (For Wives Only); Sidney Franklin (The Duchess of Buffalo, with Constance Talmadge, and recently Wild Orchids, with Greta Garbo); Paul Bern, who wrote the script for The Beloved Rogue and made Grounds for Divorce; Frank Tuttle, scenarist for Allan Dwan's Manhandled, with Gloria Swanson, and director of The American Venus and Blind Alleys; James Flood, (Three Hours) ; Roy del Ruth, whose Wolfs Clothing was far above the average movie; and H. d'Abbadie d'Arrast, Chaplin's assistant on The Gold Rush (A Gentleman of Paris, Serenade, and Service for Ladies, all with Adolphe Menjou).
The titles of the above movies clearly indicate their subject and trend. They may be summed up, perhaps, in three titles, The Popular Sim, The Waning Sex, and Blonde or Brunette.
In the last eighteen months, there has arisen a number of new film directors who, owing to the dialogue film, have migrated from the stage. Many of the old silent film directors have also adapted their technique to the new demands of sound. In this group are to be found such men as Harry Beaumont, maker in the past of Glass Houses, Gold Diggers, and Our Dancing Daughters, and more recently of The Broadway Melody; Charles Reisner, who
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