Hollywood Filmograph (Jan-Jul 1930)

HOLLYWOOD FILMOGRAPH 19 COLOR FILMS WILL LENGTHEN THE PLAYERS SCREEN LIFE. DANGER OF SHADOWS ARE GONE, SAYS DIRECTOR OF "BRIGHT LIGHTS"— CAMERAMEN GET NEW ANGLES THROUGH HUED PHOTOGRAPHY Color pictures, although they increase the difficulty of working conditions, will prove a boon to film players by lengthening their so-called "screen life," according to Michael Curtiz, director of Dorothy Mackaill's all-Technicolor picture, "Bright Lights." Brilliant lighting and better registration of colors other than black has eliminated shadows which, unless properly regulated, gave the appearance of age, Curtiz explained. "In black and white pictures age could not be hidden easily. Lines caused by shadows were always a source of worry to a cameraman. Even child players sometimes had them. That worry is over. "Leading actors and actresses who had to give up the screen or go in for character parts because the telltale lines of age could not be blotted out can now go on indefinitely. Technicolor make-up combined with the added lighting needed in color pictures prevents shadows almost entirely. "Sometimes we must 'paint' shadows on to get the effect of certain character types. We also get character by shooting up or down on a player's face instead of in a horizontal line. In the early days of pictures, horizontal angles were the only ones used. "Color, combined with the added opportunity to portray a romantic character through dialogue, has doubled the screen life of leading players." "Bright Lights" is the most ambitious vehicle Dorothy Mackaill has appeared in for First National. It is a melodrama of backstage life with the actress appearing as a famed hula dancer. It is her initial color picture and she dances and sings for the first time in talkies. "Color has unquestionably brought greater naturalness into pictures," continued Curtiz. "The fact that we can now shoot a scene from almost any angle and make it interesting is one proof of this. Colors give such a scene 'life.' Black and white photography demanded action or the appeal of beauty to get over because such scenes were after all only 'pictures' of things instead of the things themselves." Lee Garmes, cameraman on many of Miss Mackaill's pictures, and chief photographer of "Bright Lights," has found many new angles on the blonde actress, as well as on other players, in color photography. A different turn of the head, a lower or higher position of the camera, and unusual lighting effects are possible in Technicolor films, he stated. "Miss Mackaill has no 'bad angles,' " said Garmes. "We can photograph her from any part of the set and it will register clearly and without blurring of features. In black and white we rarely took a close-up of her from the back and showing only a part of her face. It was either front, quarter turn, or profile. "Now we can shoot from the back, LIP MOVEMENTS AND SOUND NOT SYNCHRONIZED The sound track which runs along the edge of audible motion picture film is not synchronized with lip movements in the way most persons suppose, according to B. P. Schulberg, general manager of west coast production for Paramount. That is, when a character on the screen speaks a word, the corresponding impression on the sound track is not opposite the picture of said character opening his mouth, but is, instead, nineteen frames, or pictures, ahead. This is due to the fact that two lights are used in reproducing sounds and pictures. These lights must be far enough apart in the projection booth so that the head from one does not affect the other. It is for this reason that it has been found necessary to separate the impressions so widely. This makes editing of films a Chinese puzzle for those who do not understand the system, as the narrow ribbon of sound track must be left dangling at the front end of the cut film This ribbon matches up perfectly with the amount of track which can be cut out of the back end of the next strip of film. Allowing for this detail however, editing of sound film is much simpler than editing of silent celluloid. This is due to the fact that cameras have been slowed down materially to allow time for sound recording. The same number of frames that now require nine reels could be placed on six reels of silent films. DAVIS ADDED TO DE MILLE DRAMA Edwards Davis will appear as the majestic "Henry, the Eighth," with all his wives, in the Zeppelin masquerade ball sequences of "Madame Satan," Cecil B. De Milk's current Metro-Goldwyn-Mayer comedy with music. and showing only one-quarter of her face. Color of her hair and skin will make this shot seem sufficiently 'alive.' In black and white, because of lack of detail which color has brought us, such a shot would be dull and cause no reaction of an audience." Frank Fay is appearing opposite Miss Mackaill in "Bright Lights." and Noah Beery, James Murray, Inez Courtney, Eddie Nugent, and a lengthy list of noted players are in the cast. The story was written by Humphrey Pearson, author of "On With the Show." It portrays Miss Mackaill, as Louanne, in her rise from hula dancing in a low class African cafe, up the various steps of her career, to stardom on Broadway. Grant Clarke, Harry Akst, and Herman Ruby wrote the musical numbers. Some of the largest stage settings ever built will be seen in the picture. RoundUp Scenes Taken at Nogales, Arizona Now in Production at Universal City Richard Talmadge Starring in "THE YANKEE DON" Direction Noel Mason Cinematographer — Jack Stevens Production Manager — Leon Metz