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THE ACTUAL
Fay Wray. Wings, whilst dealing with the air, was good; but when it descended to earth, to Clara Bow and the boys, it was unbearable. On these occasions, the intelligent public must take the bad with the good. It is the way of Hollywood.
Of other films to be added to this group of plein air productions, mention must be made of William K. Howard's White Gold, which attempted to appeal to two types of audience, the intelligent and the rest; and Karl Brown's excellent picture, Stark Love, with Helen Munday, Forest James, and Silas Miracle. Howard's film was made in the so-called continental technique, meaning that he paid more attention to atmosphere than to individuals. Instead of the crowded dance-hall, only the shadows were shown; in place of a shot of the corpse, the hero looked behind the door and drew back with horror plainly written in his face. Howard also tried the repetition of single word titles with some success, but the film as a whole was inclined to be laboured. He was also the director of some early westerns, like Light of the Western Stars and The Border Legion. Karl Brown's film, which was financed by Famous-Players-Lasky, was taken during 1927, among the primitive descendants of pioneers in the Appalachian mountains of North Carolina. The director had been the cameraman on Paramount 's The Covered Wagon, and Stark Love was a reminder of the grandness of the pictorial beauty of the earlier film. The acting material was raw nature; the story-interest simple and convincing; the direction straightforward with a sense of dramatic value. The film was to be ranged on a level with Flaherty's Moana and Jean Epstein's Finis Terra.
Returning to the ranks of the ordinary movie directors, there are found a large number of second and third rate film men. Much of their work is of little save passing interest, and does not call for further comment than that usually accorded to it in the Press. Most of these secondary directors are like popular dance tunes they only tell for a short time. Movies are easily made, and just as easily forgotten. On rare occasions one of their films contains some little device, some twist of the camera that is interesting, some odd close up which for the moment holds the spectator, but for the most part they are dull. Even as it is characteristic of big directors to convey a great deal in a few shots, so, on the contrary, these small directors tend to photograph much and say nothing. It is these film
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