We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
THE AMERICAN FILM
superb, artistic, and superlative in every way, but their titles are all that need be recorded of them.
George Fitzmaurice directs movies like The Dark Angel and Love Lies, about which there is nothing to say; Marshall Neilan takes the credit for the unfortunate Tess of the d'Urbervilles, Diplomacy, and The Venus of Venice; Sam Taylor has a knowledge of rough slapstick, and has made some of the Harold Lloyd comedies, Mary Pickford's My Best Girl, and lately, the dialogue version of The Taming of the Shrew. Tod Browning once made a film which was reputed to be of interest, The Unholy Three, and later The Blackbird, Under Two Flags, and The Mystic; Rowland V. Lee directed The Man Without a Country, Havoc, said to be the best American war film, and The Outsider; whilst Allan Dwan made Tin Gods and The Music Master.
Among those whom I should class as better directors are to be recorded such men as Lewis Milestone, who made an excellent comedy in Two Arabian Nights, and has since directed a clever melodramatic film of the bootlegger type, The Racket, with Louis Wolheim. Milestone is well aware of the right use of half-lighting, of well-chosen camera angles and of contrasted motives of tension with unexpected movement of material. Victor Schertzinger is another director who has done notable work, prominently in that excellent film, Forgotten Faces, where, although he was inclined to misuse his moving camera shots, he built up some dramatic situations. He has many pictures to his name, amongst which are Man and Maid, The Wheel and Thunder Mountain. E. H. Griffith was the maker of a sincere film, Judgment, a dramatic theme of a man's cowardice, and has also to his credit Headlines and Bad Company. Harry Hoyt will be remembered for his competent version of Conan Doyle's extraordinary story, The Lost World, a. film in which Lewis Stone, Bessie Love, Wallace Beery, and Lloyd Hughes played with distinction.
Dorothy Arzner is a clever woman director who at one time wrote scenarios, took up cutting (The Covered Wagon) and finally made a picture called Fashions for Women. Lois Weber is another woman director, who made that excessively dull movie, The Sensation Seekers.
To this long list are to be added the names of some of the older school, like Thomas H. Ince, Ralph Ince, King Baggott, Clarence Badger, Herbert Blache, Charles Brabin, Edwin Carewe, John
141