The Motion Picture Story Magazine (Feb-Jul 1914)

The Spirit of the Play By "JUNIUS" Editorial Note a large majority of our readers Live where they are tumble to Bee the great "Feature Photoplays" that are now creating such a sensation in tin* theatrical and film worlds. Most of these productions are first shown on Broadway, New JTork City, and are then taken to the smaller cities, where they are shown in the large, regular theaters. Hence, it is a long time before the smaller picture bouses get these Broadway productions. For that reason our reviewer, who chooses to be known as "Junius," has engaged to keep our readers in touch with the situation at the source. Of one thing our readers can feel certain: "Junius" will say just what he thinks, and lie will i«e free from bias, prejudice, partiality and advertising influences. THERE are several different angles at which a photoplay may be viewed. Whether we like a play (*!• not depends on that angle. Some are content if it holds the interest. Some insist that it must be based on a great theme. Some require that it he beautifully photographed so that each picture constitutes a work of art. Some are not content unless it displays great acting. Some will not be pleased unless it contains a love story, or some thrilling, hair-breadth escape or heroism. And still others will class it as mediocre unless it is so colossal that it assumes the nature of a Bpectacle. While the hest of connoisseurs differ, there arc certain rules of art thai all cultured people must subscribe to. and yet, it" we are to agree "ii a standard of merit, it must he one that is not too far ahovc the heads of the majority . A savage enjoys the music of a drum more than he would a symphony orchestra, and the colon Of a barber-pole more than he would a painting by Michael Angelo. A (lea has joys, hul they arc nut bo greal as those of a philosopher. Thus the degree Of pleasure thai a photoplay gives us depends on our capacity for enjoyment. Those who have n"t i" en educated to appreciate the higher arts cannol gel the enjoym. ni from a greal photoplay as can "ii-' who has. While almosi anybody w Hi enjoj "Judith " Bio i'li . not ;iii will recognize its tnesa They w ill vaguely realize it is a beautiful picture ; thai the "L'lnphx is clear ; that the battle I i ttntti •/ on pagi 158 Mi scenes are thrilling; that Blanche Sweet causes a real tear to roll down her cheek, and that the whole produces a sense of keen enjoyment ; but they will fail to appreciate all its tine points. Likewise, when some people see "The Christian" (Vitagraph), they will simply say: "Oh, that is too gloomy ; there is not enough life and brightness to it." Not having the capacity to appreciate what is perhaps the most wonderful photoplay that has yet been produced, they pass over a dozen mountains of ait. only to light on a trivial ant-hill, thinking that is the summit, like the critic who failed to appreciate a greal painting because it had a flyspeck on it : he could sec only the fly-speck. Hut the trrt>at critic realizes that the ••ant-hill." aforesaid, is really a mountain, after all: that the gloom was as necessary to the dramatic unfolding of the plot as was anything else: that without clouds and gloom we could not appreciate the contrast of sunshine. All things considered, T would say that "The Christian'1 was the superior of "Judith." It has fifteen roles, where "Judith" has only two; it lias better character delineation ; it has more artistic pictures, and they are more numerous: it shows to better advantage the art of dramatic construction ; and. lastly, it furnishes the Opportunity for a greater variety of emotions, and hence a higher quality o\' acting. "Judith" impresses me as a i spectacle; "The Christian" as a greal drama. " Samson" is in the same general class with "Judith,"