Moving Picture Age (Jan-Dec 1922)

STUDENTS OF THE FILM oftentimes point to the increasing number of literary classics being put in motion pictures in proof of the assertion that the producer has noted the unclean production's waning favor and is altering his goods accordingly. One finds pleasure in agreeing with the general spirit of this statement; but one would be foolish indeed were he at the same time to forget that man does not slough off long-indulged habits as he would doff a coat. This habit of producing films impregnated with off-color material has led a number of producers, while granting the need of improvement and actually in process of making the change — perhaps, you will say, convinced against their wills — to search the new type of material for some of the very elements that had brought disgrace upon their former type of production. And so today we find a new problem : The film version of a literary classic that contains scenes or lines unfit for the screen. Exception to the filming of material considered permissible in printed form is not an inconsistency. Obviously the printed word does not and cannot stimulate a mental reaction as detailed, as powerful, and as permanent as that achieved by the same action literally portrayed on the screen. "Treasure Island" is just the type of book to spur the imagination of the growing boy ; and yet the vivid reality attained by some film interpretations of the book is totally different from the effect of the writing itself. (Let us interpolate as a sidelight that this extreme effect indicates not an ineradicable evil of the screen, but rather a failure on the part of the producer to understand the potent instrument with which he is experimenting ; to be more specific, it points to a lack of the repression so essential to the film as well as to the novel and music score. "A Tale of Two Cities," produced by Fox, finds its success primarily in the exercise of repression.) It may be granted, then, that in the film we are toying with more dynamic potentialities, and that this medium of thought transference must establish its own standards. One of the first questions arising in the development of standards is this : "What shall our attitude be concerning the film version of a literary classic in which morally reprehensible material is found? Does the literary calibre of the writing offset the moral calibre of parts of the production, or shall the nature of certain units be sufficient to ban the whole ?" Let's see how the problem was handled by a representative group of pastors only recently. Invitations had been sent out to attend the screening of a film based on the poem classic in which the fair lady saves the homes of the citizenry from destruction EDITORIALS by riding unclothed through the town. The manager of the non-theatrical department desired the sincere opinions of those present as to the propriety of using the production in schools and churches. After the showing the first opinion expressed was essentially as follows : "I am frankly quite surprised to know that this poem could be handled in such clean fashion, and I do not see how that subject could have been presented in more unof he said, "for it seems to be an example of one of the motion-picture evils we are opposing constantly. While the poem has literary merit, there is nothing about it to attract a producer's attention except the feature to which we take exception. I think the technical features of the production are good, but I could not approve the use of this film in churches nor even in the theatre." The wife of one of the pastors present expressed an opinion exactly in accordance with our own when she said : "It is a wellpresented production, and certainly the scenes of the ride were discreetly handled. But what's the use? Mothers certainly do not want their children to see such a production, and it is difficult to see how a theatrical audience could find any degree of dramatic enjoyment in a film so obviously built around this one feature. As for the schools, there is no need for the school child to visualize this film so thoroughly; let the assistance by visualization be confined to poems or stories that can be screened without violation of modesty or good taste." And there we have the reactions of a group of representative and broad-minded religious workers concerning what might best be called "the off-color classic." We feel that these speakers went directly to the heart of the matter in asserting that there was but one reason for the filming of this poem. We know that the man on the street is both bored and disgusted with the producers' persistent efforts to feed him upon uncleanness in one guise or another, and that the producer who has his ear to the ground will be keen enough to submerge his own ideas in favor of what his customers want and are determined to get. The Path around Lake Louise: One of Many Prints Use ploit the Motion Pictures of the Exhibits and Publicity Department of Trade and Commerce, Canada d to ExBureau, w; fending style than it was here. At the same time, I would not deem it advisable to screen that film in my church. Why do you think that that film would have value for the members of my church?" The manager replied, "Why, it's educational !" "Yes," rejoined the first speaker, "and yet why should I select this particular film, with material that is questionable to many minds if not absolutely objectionable, when other educational films without any doubtful features can be secured? And it is difficult for me to see why this one poem was chosen for filming unless it was because it was thought that the ride of the unrobed woman would prove an attractive feature." Another significant opinion came from the president of a church federation. "I could not give my approval to such a production," HEN MEMBERS OF A GROUP of visual educators do not maintain enough interest in it to discuss their organization, something is wrong; either the organization or its personnel is peacefully napping — and visual educators are not generally famed for proclivities of laziness. On the other hand, when opinions are freely, frankly expressed one begins to believe that this group is to be seriously reckoned with, and that the organization really counts for something with its members and thus with the country at large. The latter condition, now obtaining in the National Academy of Visual Instruction, augurs for the finer health and increased strength of that institution. The past month has been significant for the indications it has brought us of the Academy's future progress. But first, comment is in order concerning the Academy's new chief executive, Dudley Grant Hays. This is the man who, when the Academy's