The Motion Picture Story Magazine (Feb-Jul 1914)

the story and the acting are not of sufficient excellence and intenseness to maintain interest, aside from the lesson which the author is trying to bring out. In my jugment, many photoplays of laudable intentions fail for the same reason. I do not think that the contention can be supported that the chief object of Motion Pictures should be to amuse and distract, but I do think that producers of plays intended to convey a lesson or a moral should bear in mind that if the story, the acting and the directing are good enough, the' lesson will take care of itself. Speaking of acting, a certain snap in the acting of all but the most tragic pictures helps to improve the general effect, to my mind. What I mean is best exemplified in serious pictures by some of the Biographs, in farce comedies by the Keystones, and by all of the French photoplays. There are too many directors who seem to think that a maddening slowness of motion and heaviness of gesture on the part of every one in the picture represent in some measure real histrionic ability. But you cant fool all of the people all of the time, and I think we have passed that stage completely. As far as lack of snap is concerned, the Vitagraph. among the premier companies, has lost more opportunities than any other, especially considering its wonderful staff of humorous and serious actors. Attention to this point, it seems to me. could have improved both many of its comedies, with the inimitable Bunny, Mack and Lackave. and its society dramas, which have often been, in spite of the plot and the acting of part of the cast, long-drawn-out and lifeless affairs, lacking the salient '•punch." In pictures of this type, not only is the speed of the picture often too slow, and the acting too sluggish, but the number of scenes is too many. For instance, in a photoplay, a man goes to his club. This can usually be shown with sufficient detail by letting the audience see him entering an automobile, carriage or street-car, and later walking into the club entrance. The picture generally proceeds, however, as follows : Hero decides to go to his club : hero takes off his dressing-gown ; hero puts on his street-coat : hero walks out of room-door ; hero walks out of street-door ; hero looks around street and sees taxicab : hero hails taxicab : hero gets into taxicab : hero gets out of taxicab, etc., etc. "Business" of this kind takes up three times as many feet on the film as the best interests of the picture demand. In your November issue, I notice that one of your readers "knocks" foreign pictures and cites an example. Judging from her account, I should say that the picture she refers to was an Italian film, and I heartily agree with anybody that most Italian pictures are unquestionably far inferior to our domestic product. But when it conies to other European pictures, especially the French ones, it is time for us to sit down and take notes. They are superior to ours in the same ratio as the stage in Europe is generally on a vastly higher plane of excellence than in America. The "star" system, which detracts from the American stage, also does from its Movies, for even tho members of the theaters like the Comedie Franchise and the Odeon act regularly in photoplays over there, they attain a uniformity and harmoniousness in their pictures which are seldom seen here. Certainly there are few greater pleasures for me than to see a French Bathe or Gaumont drama, or a comedy with Max Lander. I think there has been a remarkable improvement •n Indian and war pictures in the last year. The mere substitution of Indians for white actors is always a great change for the better. Broncho and Kay-Bee are doing fine work in this line ; so is Kalem jiu its Southern pictures. So-called Mexican pictures, however, "get my goat." I am obliged to visit that country on business quite i i requently, and I can safely say that there is more romance in Hoboken, N. J., than in the whole coun rry of Mexico. Moreover, I have never seen more than two or three native Mexican girls (whom the photoplays generally represent as beautiful heiresses »\ith American cowboy sweethearts) who had not 1 aces that would frighten the most courageous on a lark night. Film conception of high finance and business is lso generally a weird and wonderful thing. An 'xcited individual making motions over a ticker is ne accepted way of portraying anything in their Jine. 1 But in spite of all minor faults, our Moving Picures are undoubtedly on the road to ever increasing 'xcellence. and nobody is doing more to help them long than the Motion Picture Magazine. Hoping ou will enjoy the cigars. Send for Trial Bottle 2o <t You have never seen anything like this before The fragrance of thousands of bloi vial 2 inches high. The most exquisite perfume science ever produced. Hade Hlth-mt alcohol. fibwrprops $1.50 at dealers or bjimail. Bend check stamps, money order. 3 odors : Lily of the Vallev, Rose, Violet. Money hark if not pleased. Send ten 2-cent stamps for miniature bottle vitli Ionglass stopper. Please mention name of druggist . Address today Paul Rieger, 276 1st St., San Francisco PARIS NEW YOKE BAHFRAKCISCO Scenario Writers' Club Become a member of this organization for your own advancement and benefit. Send your plays here. The usual rates, when requested, for typewriting and marketing: your scripts. Criticism and advice on plot, construction, and how to make your play salable — free to members. Entrance fee, $2.00. COURTNEY WENT WORTH, 123-129 West Forty-fourth St., New York City. THE Wm. G. Hewitt PRESS 61-67 Navy Street BROOKLYN, N. Y. 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