International photographer (Jan-Dec 1934)

Eight The INTERNATIONAL PHOTOGRAPHER August, 1934 Motion Picture Sets Their Architecture and Characterization By Paul R. Harmer |OTION pictures are produced with careful consideration given to proper architecture, to support the characters portrayed. In ancient Greece, the Ionic order of architecture was considered feminine ; the small slender columns with the voluted capitals symbolized the slender female figure and the roll of hair on the sides of the head. The cornice and trim were finely carved and decorated. The Doric type of architecture symbolized the masculine ; the columns are larger than the Ionic and are plainer, while the capitals are circular, with rings of moulding thereon, symbolizing the head bands worn by the men of that period. As we pass through other periods, the Egyptian order with its sloping walls reminds one of the strength of their early discoveries which formed the foundation walls of civilization. The Byzantine, with its barbaric splendor ; the Gothic which symbolizes the spiritual growth of Europe, the awakening from ignorance of a strong race. The Renaissance, or revival, which swept Europe after the crusades, all the ideas borrowed from earlier periods, yet simplified or enhanced ; and the skyscraper of the Twentieth Century which symbolizes science and education. The Aztec should not be forgotten. His buildings show his strength, yet his superstition and cruelty are everywhere apparent. India with its caste and China with its unnecessary bric-a-brac symbolize the races that put their best efforts into useless ceremony and superstition. When a story has been accepted by the studio motion picture officials for production, a copy of the script is sent to the art department. Here the story is carefully read, the characters are studied for their good and bad points of temperament, physical qualities and station in life. The story is reviewed from the standpoint of locale, situation and plot. The settings are then made in keeping with as much as possible of the foregoing. The same is true for wardrobe, make-up and props. Tempo in direction and photography is also very important. Many fine stories have been spoiled by being off in their tempo. Many directors will refuse to start a production unless they can start with the first sequence first, thereby getting themselves into the real feeling of the story, which they accelerate or retard, as a musician does a fine selection of music. Some art directors employ a similar system. Proper characterization is the aim of all actors and artists. That is why a production made by a major studio usually excels the independent production. It costs more to have everything as it should be. To one who is unaware or uneducated in the proper periods and characters, much of the beauty of a fine production goes unobserved and unappreciated. However, the public is gradually being educated and people are slowly demanding a higher standard of art in their entertainment. The predominance of the educated public is in large cities for this is where the best productions have their largest patronage. Many thousands of dollars are spent on settings, yet they seldom exceed ten per cent of the total cost of production. Some studios make a super picture once a year, or once in two years ; they build a group of new sets and then revamp them for the rest of the program that follows, sometimes paying little attention to the finer points of period or character. (These are termed "cheater pictures.") This is especially true since the depression. In picture No. 1, courtesy United Artists, "Looking for Trouble," this cafeteria is modern, the straight lines and the thick walls indicate that it is located in a large building in a fairly large city. The smooth, light colored walls, white table ; the plainness and simplicity suggest cleanliness. This setting aids the eye in watching the principals and is very well adapted to fast moving comedy. Picture No. 2, a portion of a typical Renaissance living room, is strictly French in character. The formal pilasters, arches, drapes, floor and furniture suggest culture and wealth. This is an ideal setting for drama and intrigue, yet there is a suggestion for relief and lighter entertainment. Picture No. 3, courtesy Paramount Studios, from "Many Happy Returns," is a modern radio station parlor. Formality is very well expressed in the lines, moulding and dressing, yet it is versatile enough to lend itself to comedy-drama in a metropolitan city. In Picture No. 4, romance is everywhere. The Ionic columns and Rondo suggest the strong influence of the woman. The stars suggest the dreams and hopes that romance brings to the thought. Glamour, music, entertainment and food are all present to satisfy the physical. Romance can be brought to a high point of understanding in this setting. If you think back over the picture that you have liked best, you will realize that it was personality plus character plus situation that gave you the thrill and held your interest. Before the advent of sound into motion pictures, we were accustomed to seeing large sets filled with crowds of people. D. W. Griffith's "Intolerance" was the first to employ so much construction. The next was the ballroom scene from "Cinderella," made by Famous Players; a glass stairway with jets of water sprayed up against the treads and risers, which made the stairway appear as a waterfall, with dainty ladies and gallant men walking up and down. The ballroom floor was covered with plate glass laid on black velvet, giving the appearance of a beautiful lake whereon the dancing couples tripped lightly to beautiful music. "Ben Hur," with its beautiful coliseum and arena required seven hundred and fifty carpenters who spent twenty-one days in building. "The Hunchback of Notre Dame" and "Kismet," each required four hundred carpenters and plasterers thirty days, besides a small army of scenic artists and set dressers. "The Winning of Barbara Worth" employed more miniature technicians and cameramen than any other production, while "Hells Angels" ran a very close second; fifteen cameramen were steadily employed on this last production. Please mention The International Photographer when corresponding with advertisers.