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THE TIDE ROLLS ON
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a few steps forward; has learned to emphasize the important. Tess of the Storm Country in its original form — afterward Mary Pickford remade the whole thing — is archaic; David Harum^ except for the long hobble skirts of the women, might have been filmed yesterday.
Credit for these improvements belongs not wholly or even chiefly to that Zukor-Lasky group whose fortunes I am following. A director or cameraman cannot copyright his tricks and devices any more than an author can copyright his peculiarities of style. As soon as they appear on the screen, rivals study them and adapt or imitate. Others, now that their shackles had fallen, had begun to experiment on a large scale. Griffith, while still with Biograph, produced in Judith of Bethulia the first of our grandiose scenic films. The pack coursed after him; companies began ranging the world for famous locations such as the canals of Venice, the Roman Forum, the country houses of England. . . . That expensive method also has grown archaic. Clever scenic artists now build from laths and “staff,” in the corner of the lot, Romes or Venices or Constantinoples so realistic that natives, when they see the film, cannot tell the difference. Breaking loose from all management and scraping together the capital wherever he could find it, Griffith produced from Thomas Dixon Junior’s The Clansman his twelve-reel masterpiece The Birth of a Nation. Released just after Europe went to war, it re