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By FREDERICK JAMES SMITH
shal of the film. So the world of the cinema realized in a flash that December morning.
But, after drifting for four days, the Griffith party made port. The photoplay sphere settled back — but we trust not to forget fulness. It is natural for those close ta greatness not to observe the light, but the honor that alone is Griffith's must be accorded. No other one man has done a fraction of service to the silent play performed by Griffith.
May he long retain the leadership! May he go on experimenting and trying, for few others have his courage and resourcefulness! To be sure there are many promising figures upon the horizon — none more notably so, for instance, than the youthful King Vidor or Mrs. Sidney Drew — but there is but one Griffith.
Let us recognize this Moses of the motion play, this Columbus of the cinema! Let us remember that grim December morning — and give all honor where honor is due — now.
Richard Barthelmess had gone on to the Bahamas ahead of the Griffith party. When news, reached him that the Griffith steamer was missing he chartered the "Berry Islands" and started out in search. Here are views of Barthehness and his mother on the searching tiiti. Below is a recent study of Griffith
THE world of motion pictures drew a startled breath and paused to think one recent December morning when the newspapers of the land carried the story that David Wark Griffith and his party had been "lost at sea" off the Bahama Islands.
It is human to take a f)erson or thing for granted — to accept unthinkingly. So Griffith, standing at the very forefront of the photoplay's march, had been accepted. But the news that Griffith might be adrift in the lonely Spanish Main — dead or dying — startled the film world and set it thinking.
Quickly it took stock of just what it owed this genius of the silent drama — for Griffith, with all his faults, is the one genius of the photoplay. From the flickering first days he has proudly held the standard upright. From the moment when he stepped from crude one-reel melodrama to such brief celluloid bits of brilliancy as "The Blot in the 'Scutcheon," "Enoch, Arden," and scores of others, down thru the avenue of progress marked by the fade-out, the close-up, the dissolve, and a multitude of now accepted technical devices, to the present of that lyric tragedy, "Broken Blossoms," Griffith had led the way — and led in every sense of the word.
Other excellent and in many ways brilliant division commanders have appeared — De Mille, Ince, Toumeur, Tucker and Dwan among these potential leaders — but Griffith is still essentially the field-mar
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