The Motion Picture Studio (1921)

October 8, 1921 THE MOTION PICTURE STUDIO jC-cc/MA Intimate Studio Qossip The latest news of the state ol affairsl of Broad west is that C. Comins, 50, Cannon Street, E.C., has been appointed as receiver and mana¬ ger by order of Court dates September 21, and under powers con¬ tained in debenture dated August 2, I9I7* * * * (jitv men on their way to business the other morning rubbed their eyes and then stared almost incredul¬ ously at an aristocratic looking gentle¬ man, immaculately dressed, wheeling a baby carriage across the busy thor¬ oughfare in front of the Royal Ex¬ change, and, at the same time, drag¬ ging a reluctant lamb by ai piece of rope. Near this unrehearsed scene was the camera-man busily turning the crank of his machine. The aristocratic gentleman was Cyril Chadwick as Spoofy m the new George Fitzmaurice production of ‘‘Three Live Ghosts.” Afterwards it Was found that the scene had been somewhat spoiled by a baker’s van which crossed the line of vision at the psychological moment, and there was nothing for it but to take the scene all over again. Cyril Chadwick, his baby carriage, and his lamb were whirled by motor car from the Islington studios to the Royal Ex¬ change, and once again he crossed the busy thoroughfare with a burly police¬ man this time holding uo the traffic, and! hundreds of people watching the quaint scene. * * * I learn from Bert Haldane that he has been approached by a new corn puny, now forming with big capi¬ tal, to go to Ireland and direct the production of Irish pictures. The en¬ gagement offered ii;s for two years. Does this mean that, everything in Ireland is peaceful now? * * * Last week I referred to the resolu¬ tions of the National Council of Women of Great Britain held at She! field, the Countess of Selborne pre¬ siding. The resolution urged the Home Secretary to introduce legisla¬ tion for the licensing of all persons who* for the purpose of private gain employ people1 to perform in a kinematoigraph film. Cecile Matheson, in proposing this, said if they were suc¬ cessful in getting legislation on those lines they would do' something desired by the A. A. and all the film directors. What was required was protection against unscrupulous kinema schools and theatrical agencies usually run bv * Mr. Bogus. Methods adopted in many cases amounted to a peculiarly cruel method of fraud, and the oppor¬ tunities of practising this would be nullified by licensing. She described many instances of how young people had fallen victims to the fraudulent manager. * * * Isabel Beresford, of the A. A., who seconded, made a strong ap¬ peal. “ I ask you to stop this awful thing, this pandering to lust and deal¬ ing in women’s souls, leaving them stranded with temptations all round them that frequently mean ruin, bony and soul.” The resolution was car¬ ried. * * * \ further resolution, which pro¬ hibited the engagement of any young person under the age of 18 in the theatre or on the films, was lost. It was pointed out that actresses' and1 actors, both for the stage and screen, had to' begin their1 training at an early age, and there were otn t technical difficulties that could hardly OUR LETTER LIST. Letters await the following at the offices of this journal. A stamped addressed en¬ velope should be sent with applications. No charge is made for the use of this service. Esme Kavanagh. Faith Bevan. Irenee Craven. ON THE FLOOR With JOHN S. ROBERTSON Easy confidence in himself and his work, which is typically American, combined with a real modesty, which is not quite so typical, is what first strikes an observer of John S. Robertson’s directing methods. This true modesty, implying a knowledge that he does not know everything, is evi¬ denced in the fact that, being advised by a famous British novelist to see some of the Swedish .screen masterpieces, John S. Robertson fully intends to follow the advice. “ There is no cut and dried method of making a film,” he says; “I may make one picture one way and another film another way. I think the artistes ought to have a good general idea of the story before starting to work. Then there may be dis¬ cussions as to the interpretation of the differ¬ ent characters and .scenes as the production proceeds.” Perhaps the most obvious distinction between the methods of John S. Robertson and that of the typical Brtish director is that, among the minute details about which he seems to take thought before the scene is shot are those of lighting. The actual management of the light is, of course, the affair of the cameraman, and it is carried out by an efficient corps of elec¬ tricians, but the American director seems to take a general supervision of the lighting effect to an extent which is not common among British directors. be overcome. This result does not surprise me, for last week I said that the suggestion was “ far too bureau¬ cratic a,s well as failing to deal with the problem that the Council wishes to tackle.” With the appeal of Madame Beresford I stronly agree. * * * Jacques Wessel, Director of Foreign Sales for the Hollandia Film Company, Haarlem, Holland, is leaving for the States with five of the G rangerBinger productions. A fluent linguist, he is a, popular personality in most of the film centres of the Euro>pean capitals, and has travelled exten¬ sively even further afield. Recently he joined the foreign sales department of the Hollandia Film Company, and im¬ mediately fixed up for the distribution of the productions of this concern throughout the would (excluding Eng¬ land and America) by Pathe. These pictures include The Black Tulip 1 and “ Laughter and Tears.” These productions: are, of course, handled in England by Granger’s, and America is now the only country not covered. This fact, Mr. Wessel hopes soon, to remedy, however, and! he will take the good wishes' of a. cosmopolitan circle of triends with him, on his trip to the U.S.A. * * * Shl Jay, the energetic agent of Wardour Street, is continually negotiating engagements for othier people, hut 1 am noiw interested to know] that he is able to> announce his own engagement to be married. Con¬ gratulations to both ! ■jfc ■?£ 7^ That favourite opera “The Bohemian Girl,” is being directed for the screen, and a wonderful array of stage star's has been engaged to interpret the interesting story including Gladys Cooper, Ellen Terry, Constance Col¬ lier, C. Aubrey Smith, Ivor Novello, and Henry Vibart. Harley Knoles is directing the -screening for Alliance Corporation at St. Margaret’s-. Later the company will travel to the banks of the river Danube for some of the scenes. * * * Jvenelm Foss, who is now busily engaged on the production of a film version of “All Roads Lead to Calvary,” >s of the opinion that the in¬ troduction of youth in motion pictures is essential. During the past few months he has selectedi stories nearly all of which demand youthful players Ta^er Jeading “ megaphone.” 5