Motion Picture Classic (Jan-Aug 1919)

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What the Photoplay Might Do By CHARLES JAMESON PROBABLY no One is better to talk of imagination on stage or screen than S Walker. I"or a long time a lie ant of that master of stagec David Belasco, Mr. Walker has attracted w'orld-wide attention his Portmanteau Theater. Mr. Walker’s Portmanteau 1 ter has been an institution of si larly lofty ideals. To it Ameri largely indebted for its knowledj Lord Dunsany, whose colorful dramas of gods and men con beauty, satire, imagery and tre: dous dramatic suspense. All of Walker’s productions have | marked by the real spirit of the stage art, which is at once sir imaginative and spirited. / from all this, he has develop^, repertoire company of striking cellence. ‘‘Perhaps it is jmesumptuous o to even discuss the photoplay,” Mr. Walker, ‘‘because I knovi little of the way in which it is 1 It is very easy to point to somet and say it is wrong. But men | h a v e s i’ years ; mill ions' business i have a \ i‘ good rea for doing very thin exactly way. ‘‘It is not I have s few p h (I Inlays. I : once re! (juite dete: Upt>i’r left, Stuart, Walker a ii cl a model of his Portmanteau Theater, .showing how stage .settings are cle.signed. The final .set is built from the miniature Left, A scene from Mr. V\'alker’.s yrroduction of “T h e B o o k of Job,” with George Gaul as Job of the Biblical land of I'z (Sixteen^