The Motion Picture Studio (1922)

January 20, 1923 rHE MOTION PICTURE STUDIO Willie Davies — Modernist An appreciation of the well-known Art and Pageantry expert whose theory of the use of colour instead of lighting is worthy of attention by ROY HARDY WITH the advantage of years of experi * ’ ence in pageantry, Mr. Willie Davies has also been responsible for the art direction of many notable successes in the kinema world, and his practical, if not unique, experience in colour-schemes and all forms of art decorations in period styles or modern manners is adequately shown in such recent kinema successes as “ Carnival ’ ’ (which for its scenic beauty created something of a ,stir), The Bohemian Girl,” “Love in a Whirl¬ wind,” and many other notable productions. Mr. Davies’ reputation as a creator and director of many famous pageants, notably the Chepstow Castle and the Kinematograph Peace Pageant and Costume Ball, the great knowledge he displayed as a historian and antiquary, have unfortunately rather ob¬ scured the fact that he is in reality essentially a modernist in idea and expression, and «ome of his. best work has undoubtedly been 1-n the sphere of modern manners. A visit to Mr. Davies’ own charming flat in Kensington would alone suffice to empha¬ sise this point. The remarkable and alto¬ gether delightful drawing-room of this flat was recently described in detail in “ The Furnishing Trades Organiser,” and, with due acknowledgments, we quote some extracts from the article. The writer says that Mr. Davies has de¬ liberately used coloured textiles as a painter would use the pigments on his palette. His theory is that every room should be de¬ pendent for its effect upon one dominant colour. In this instance it is the heliotrope ceiling framed in a cornice of gold. This is followed up by the contrasting frieze of dull black with Byzantine design in gold, which is also seen on the side fireplace panels. Purple Silks. A soft tone of orange, skirted by helio¬ trope, forms the only wall decoration, except for the draperies of the windows, which are composed of black velvet in centre and at both ends, whilst falling in rotation from the centre hang strips of purple and orange silks. The white statuette creates a clear outstanding line on its black pedestal. The highly polished floor of black has a plain soft-purple carpet over it, and the door also is of black with gold panels. The prominent and inviting centre divan is tightly draped with purple silk, over which, in striking contrast, lies an oblong cushion of old rose brocade, braided and tasselled in gold ; the remaining circular bolster cushion being of purple velvet, with centre of orange silk with gold trimmings. A pearl and pink-shaded lamp is over the centre. Suggested by the East. The divan in the centre corner provides the necessary splash of Eastern colour, the most pronounced being jade green and pink, with black and gold to tone against the Turkish drapery on the wall behind. Lying We Dare Not Print — Sir Walter de Frece's recently expressed opinion in writing of' film company promo¬ ting. The name of the Kinema Selection Com¬ mitteeman who thought the balloting-beans were sweets. Challis Sanderson’s remarks on finding the club bar doorway too low. Some of the sentiments expressed at Aidershot in the wet. Cameron Carr’s German diary. The truth about Malcolm Tod’s Austra¬ lian bank-notes. The name of the agent with the uncom¬ fortable waiting-room. George Pearson’s outlook on the future. Our ’■eal opinion of film “ prologues.” Most producers’ opinions of other pro¬ ducers’ pictures. Any cameraman’s views on the past week’s weather. The nice things about the Press in a recent speech by Edwin Godal. What we really think of Jimmy Knight. George Foley’s refusal to fall backwards off a roof. Willie Davies between the two divans are other necessary adjuncts to an apartment having an Eastern flavour; the serving tray, incense cupola, and bowls of brass, whilst a delicately shaded standard lamp of brass completes the corner, except for the fern in a bowl of orange china resting on a low pedestal, draped in cerise and orange satin. The foregoing will give proofs of Mr. Davies’ modernity in idea, if such be needed. The essential virtue nowadays is specialisation, whilst the cardinal sin would seem to be versatility. It is so difficult to live down any kind of reputation, earned or acquired, and it is often fatal to attempt to practise, and be accepted, along any new and unfamiliar lines. Mr. Davies has some rather wonderful photographs of his studio, taken with ordi¬ nary Osrarn lamp's, and these heavily shaded. The detail is most remarkable, and even the mauves are not lost, but stand out clearly and distinctly from the blacks. Y\ ith all the colours described above, the remaining im¬ pression is of something silent, warm, and harmonious. It is by this blending, claims Mr. Davies, that excellent photographic effects are to be obtained with a minimum of lighting. Now Mr. Davies talks of going to America, but it will be a thousand pities if he is allowed to do so. It would be gratifying to hear of his engagement in connection with the production of a wonderful film and pageant that would give adequate scope for the exercise of all his rare abilities. 9