Motion Picture Classic (Jul-Dec 1928)

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Free Trial, fasy 'Payments on any Conn inntrument for band or orchestra. Send for free literature and details of triul offer; mention instrument. C.G.Conn„0</ 954ConnBldg.Elkhart,Ind. ONM INSTRUMENTS "The Big Parade" marches toward posterity: John Nichols inspects the seals on the containers of Laurence Stallings's war picture before placing them in the Smithsonian fireproof vaults Is Time Rotting Our Film Records? (Coiititiucd from page 58) Will our great-grandchildren be able to look at the faces wiiich make our hearts beat faster? In 2028 will John Gilbert still swashbuckle across the screen and Clara Bow show the flappers of the future that quaint historical phenomenon known as "It"? Will the school children who study about the Great War and Lindbergh's flight across the Atlantic be able to watch the actual scenes enacted before their very eyes? For twenty or more j'ears the Smithsonian Institute in Washington, D. C., has been systematically collecting and preserving the news films wiiich seemed worthy of being kept as historical data. When Famous Players made "The Rough Riders" recently, the studio was able to incorporate in the picture an actual scene of Roosevelt giving his inaugural address, reprinted from the negative in the vaults of the Smithsonian. There are miles of war scenes shot at the front during the \\'orld \\'ar, glimpses of the famous men and women of our times, news-reel pictures of naval engagements, disa.sters. national celeljrations, all of them sealed in air-tight containers and hidden away in underground storehouses where the temperature never varies. Dry Quickly, Die Quickly pxACTLY how well these films are lasting, it is difficult to say, because these sealed containers are seldom opened. But Mr. Nickolas, head teclinician at MetroGoldvvyn Studio, is not sanguine. "The most important thing in preserving a Him is that the hypo shall be thoroughly washed out of it, and that it shall be dried slowly," he says, "but most news-reel pictures are hurried through the developing bath in order to get them on the screens as soon as possil)le. People are impatient. They want to read about their floods and their horse races and their aeroplane flights in their morning papers and sec them at their neighborhood theaters tiiat same evening. When you treat film in this way, it can't last very long. The clieniicals left on the film after its hasty bath will eat into it in time. You can make perfect prints from news-reel film, but most prints are made as hurriedly as the rest of the process. We're not concerned with the future in this businessyet." When the American Museum of Natural History recently sealed two hundred thousand feet of film showing wild animal life in African jungles away in vacuum containers and stored it in its archives, not to be opened for iialf a century, it was done in the belief that by that time wild animal life would have disappeared from the globe with the rush of swarming populations to conquer the remaining vacant lands. In this way they hope to keep the elephant, the tiger, the giraffe from the fate of the mastodon and the dinosaur and show the children of a generation without zoos or circuses tiie strange lost citizens of the jungle world. Mary and Doug Posterity I7vERV'rHi.\(; possible has been done to preserve this film for the future. But the news-reel shots of Lindbergh, the hero of the hour, will last an even shorter time than the memory of his flight. In tlie feature pictures almost no attempt has been made to keep a print for tomorrow's fans. Mary I'ickford and Douglas Fairbanks have several of their films sealed in lead containers, witii printed directions for opening at a date several hundred years hence. Metro-Goldwyn and other ijig companies have l)egun to "can" their liiggest feature.s — tliere is a possibility that "The Big Parade" and "Tiie Trail of '98" may be shown in a world unlike the one we live in now, a world where war is as archaic as the Black Death and air travel has brougiit Alaska into the position of a suburb of San Francisco. If studio technicians should experiment in methods of preserving fihn indefinitely, or .devise a more permanent kind of film, the stars of the present might hope for, lasting fame. Or it would he possible ti keep a negative for fifty years, then maki a duplicate on a fresh film and repeat the process endlessly, so that posterity will have a moving record of life today.