Hollywood Spectator (1937-39)

Page Fourteen January 30, 1937 Still dealing with the mechanics of originality, we find another device for inducing the fresh and the novel. Let us go back again to our key terms, and see what we can get from the unexpected. To be dramatically valid, any unexpected plot action must hinge either upon, or be performed by, the central character. Thus, if a plot is seemingly predetermined, with the audience anticipating the ultimate movement or action of the main character — by building the climactic action to an emotionally tense condition where the main character is so moved and worked upon that he may logically react in a totally unexpected manner, originality is legitimately achieved. This device, incidentally, is one of the few permissible means of switching the story movement from tragedy to “lived happily ever after” ending. SIMPLER, but no less effective method of achieving originality is to allow the central character to respond as the audience expects to the climactic situation, but to fulfill his reaction in a totally unexpected manner, a manner made logical either by his previously established character traits, or by some justifying facts planted unostantatiously in the beginning and forgotten by the audience until the final action recalls them. The above examples brings us to the use of a most powerful instrument for inducing originality — the use of irony. For instance, if the facts planted in the beginning are known to the audience, but are unknown to the main character, his attempts to achieve a goal made impossible through his lack of this knowledge, injects a strong dramatic flavor as the audience watches his mistakes with full cognizance of his futility. If, then, without the obvious use of coincidence, the hero unexpectedly can be made aware of his circumstances and win out, originality is achieved. Irony offers, in its field, as many uncounted possibilities as contrast does. Whenever the audience congratulates itself on having guessed the outcome, only to find itself mistaken, irony explodes its zestful flavor. For example, suppose that in the last case cited, the hero, seemingly unaware of the missing and necessary facts, suddenly proves himself to have been aware of them all along, and produces his proof at the dramatically necessary moment. The audience is fooled, irony is evident. This device is particularly useful in comedy. It is evident, then, that the unanticipated is always sure to please an audience, provided it is logically introduced. Let me cite just two more expressions of the use of irony in producing original stories, and then we shall draw our conclusions. Maupassant gives us the Necklace as an example where the true irony is not brought out until the surprise has already foredoomed the main character. This type is usuable for films only when the central character is the villain. The device is exemplified in O’Henry ’s The Cosmopolite in which the impulsive acts of the hero misinterpret his character to the audience. But since true character will out, the tenseful circumstances near the end, suddenly produce a situation in which is brought forth, logically, the actual inner man, sometimes to the surprise of the hero himself, who perhaps has never known his own made-up. The “turning of the worm” plots are always a product of this device. From the foregoing, it is evident that invention is used in the building of plot, and that imagination must be used in its development. It also becomes evident that originality has three applications. Originality of plotidea, originality of plot arrangement, or scenes and incidents, and originality of effect. It is in the achievement of effects that ingenuity is most needed, but it is here that the camera offers the largest opportunity. I will not go into detail on this point. Just let me cite some of the almost forgotten possibilities. Montage is almost unexploited, yet no single instrument is as powerful in creating emotional response. Nor is there any end to the starkly original effects it can produce. The use of the interpose is next in ability to strip the soul from its cover and thus to bring out original treatment. Producers have forgotten it. The double exposure offers unexploited potentialities, even though it long has been abandoned. Converged and axis shots are powerful media for producing unusual emotional reaction. The list is endless. But since all these opportunities are consistently wasted, in the next issue I will examine with you the psychological aspect and see why we are inclined lazily to forfeit the rich possibilities lying dormant in the filmic machinery. By James Brant 'THERE is a quality of Art in anything worth while — 1 cathedrals and machinery, music and literature, a home or an environment, a setter at point or a trotter heading down the stretch. Science also plays its part in human effort and progress. The two, science and art, may blend to the betterment of each. Perhaps they do, but whether they do or do not is not so important as the purpose lying behind the one or the other. Down the ages has come the struggle for freedom. A deep desire for social and physical, mental and moral liberty as well as political liberty. In that forward march Art has played its part. Wisdom and depth of thought have come into being in beauteous form and harmonious expression. The art of happy presentation, the embodiment of an idea in an artistic conception, has given inspiration to following generations for further achievement. Crime and corruption, given free rein, bring annihilating disaster. Criminals, allowed full sway, would reduce all society to the very lowest levels and life would be a constant fear and misery. If Art be the expression of lofty thoughts in beautiful and enduring form, then crime and corruption have nothing of Art. If it be maintained that criminals, some of them, are artists, it follows that as society provides for the suppression of crime and criminals, it necessarily regards with distaste and distrust the artistic work of criminals. Society, therefore, in effect has decreed that the art of crime and criminals is something to be done away with and destroyed.