Motion Picture Classic (Jul-Dec 1930)

Case IV Court Scridf, CHARLESON GRAY Editor's Note — Two years ago the Talkies were tried, and found good. And now Silent Pictures, once the pride of Hollywood, are on trial for their life. You have heard the arguments of the prosecution. And now, in CLASSIC'S Open Court — where he is sure of getting a fair hearing — the silent, but none the less eloquent lone defender of Silent Pictures rises to present his side of the case. Listen closely to Mr. Chaplin's arguments. Ladies and Gentlemen of the Jury. For with you — and you only — rests the responsibility of deciding whether or not they are guilty of the charge: They Are Not Wanted. IADIES and Gentlemen of the Jury: In the whole history of the theatrical court there have been few cases of more importance than the one now being tried before you — the Talkies versus the Silent Pictures. You have been listening to the opposition — in all its furious caterwauling — and now I ask that you heed quiet me. Nor will it be necessary for you to strain forward in your seats, fearful of missing my meaning. You don't have to hear me to know what I am talking about. That's acting. In fact, in order that you may obtain the subtlest shades of my message, I prefer that you do not hear me speak. My silence is more eloquent than my voice. And by the same token, while I consider a good stage play far superior to a good talking picture, I consider a good silent film of the same play as superior to either. This, Ladies and Gentlemen of the Jury, is because it is easier to watch a performer than to listen to one. The sound-producers have insisted that the defect of the legitimate theater is the inability of everyone in the house to see and to understand what the players on the stage are saying. The motion picture remedies the defect as to sight, and certainly the talking devices allow the characters tc be heard — but there is the almost ludicrous habit' of these devices of producing sounds from unexpected places. For instance, in some theaters, during a tense love, scene, the dialogue will appear to be proceeding from the characters' feet. In others, from the ceiling of the set — and in others from either to the players' right or left. Rarely do words ever seem to be coming from the lips of the speakers themselves. The Barrier of Language THE present fad of talking pictures has many of these grave defects; but none is more serious than the handicap which they have imposed upon the industry itself. The pantomime which forms the basis for the success of silent pictures is universally understood. The message is conveyed by actions and gestures which are as old and as recognizable as humanity. When, for the purpose of introducing or connecting a story, a sub-title is required, it is the simplest of matters to inject the printed word of any language. But, Ladies and Gentlemen of the Jury, can the makers of talking pictures rely on any such simple procedure? The answer is No. Mr. Goldwyn, for instance, makes a picture called "Bulldog Drummond." This effort may readily be released in England and America — but how about Italy, Japan, Sweden, France and Germany? It is necessary to remake the picture, if each of those countries is to have it, using players speaking the native language — a task requiring four or five years, if it is to be done properly. Even then there is no assurance that the language spoken will be correct. It is apt to be as garbled as some of the language that passes for English on our talking screens. My future films are to have even mote of a vogue than 36