Motion Picture Classic (1923, 1924, 1926)

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(Continued from page 18) stage play the better to enjoy a hero's sufferings, you will appreciate William de Mille's thought fulness in bringing the camera close to his characters' faces when they are registering grief or despair or love. The closeup is the screen substitute for the operaglass habit, and Mr. de Mille has a telescopic camera grinding with every scene he shoots as well as the regular machine ; then when he wishes to use a near view at any particular point the cutting from the full scene to the closeup face will be perfectly smooth. His brother Cecil recently used seven cameras simultaneously in taking a small but important shot centering about a blackboard, thus giving an unbroken sequence of the action from every possible angle. When the scene is flashed on the screen, the girl will not have a lock of hair loose in the long view and be wearing a hair net in the closeup, and the man will not be smoking a fresh cigaret at a distance and a butt in the nearer shot, as happens so often when the two views are taken at different times. James Cruze, however, uses but one, or at the most two cameras in shooting a scene and leaves the matter of its position to his cameraman, Carl Brown, giving him carte blanche to work out his own ideas. Before taking "The Fighting Coward," Mr. Brown studied the art form of the period, steel engravings, and discovered that they were all made from a low angle of vision, the artist sitting on a stool below the scene he was depicting and looking slightly up at it. By straddling the tripod of his camera to its full width, he was able to reproduce the engraver's viewpoint, giving a quaintness to the picture which the audiences will not understand but will feel. "Taking motion pictures isn't quite the same thing as turning an ice-cream freezer or cranking a Ford engine, tho the motion may seem similar !" says he. "Personally I believe a cameraman should try to interpret the spirit of the action by his photography. There was a scene in 'Stella Maris' I have always remembered, the one where the little drudge has killed the woman who tortured her. The lighting was flat and dead and the camera angle deliberately distorted to give a feeling of despair. Mechanically it was bad photography, but artistically it was great work !" To Cecil De Mille a motion picture is first of all a picture, something to look at. Detail, finish, beauty of setting, clearness of background characterize his work and he has a director of photography, Bert Glennon, as well as a cameraman. Chummy camera angles have no place in a Cecil De Mille picture ; to his mind the audience belongs in its seats, not on the screen. When there are more than two or three people on a set, his camera is raised above their heads. In the great mob scenes in "The Ten Commandments," the cameras were hoisted thirty feet from the ground on scaffoldings, in order to obtain the widest possible range of vision. A telescopic lens caught the closeups of Rod La Rocque's face as he stood in the tossing motor-boat from the top of a breakwater half a mile away, while the Ackley camera, a machine arranged on ball bearings so that it can lie down, roll over and over and stand on its head, was used to follow Leatrice Joy to the roof of the cathedral and to panorama the pursuing chariots of the Egyptians. Most screen players have a "bad angle." Perhaps one side view is not so good as the other, perhaps the profile is better than the full face. It is said that even Mary Pickford has one angle which is never shown on the screen. The camera can perform miracles for them, flattering their good points, concealing their not-sogood ones and aiding them to put their best faces forward as it were. A low camera angle combined with a high background has often made short actors like Henry Walthall appear supernaturally tall, while the reverse of the trick is called upon to conceal the sudden alarming tendency to legginess of some screen • child. Nowadays the crash of breaking traditions is heard on the movie lots. The actors turn their backs upon the lens, or look straight into it. The chalk marks which kept them toeing the line are gone and they may now emote without fear that when they fling themselves in despair upon the floor perhaps their heads will be missing from the finished pictures. The migratory camera is at home in autos and aeroplanes. It burrows into the ground or hides in a concre'.e dugout thru which its single eye may watch a stampede of buffalo thunder by overhead and it climbs nimbly above the heads of a society dinner. It conspires with the stunt actor to make him seem to do that which cannot be done. It makes bricks of straw, silk purses of sow's ears, builds Rome in a day, creates a mighty ocean from little drops of water, and a sheiky desert from little grains of sand and — greatest miracle of all — it makes stars out of ordinary «' mortals and dreams for a whole world from a dingy strip of celluloid. (Ninety)