Moving Picture World (Jan-Mar 1914)

THE MOVING PICTURE WORLD 1069 jected into her dull career forma the most touching and beautiful part of the story, and it was probably the essence of interest in Royle's stage version. So artless, so appealing to the protectiv: instincts of true manhood, so self-abnegating is that love, that it is bound to make heartstrings throb in the audience. It is quite probable that both Royle and DeMille, when they come to study this characterization from the viewpoint of spectators, will realize that the art of producing moving pictures is to be measured by its own canons alone. Both may perceive that this new method of thought transmission has a grander scope than the boxed-in stage presentation once they are en Scene from "The Squaw Man" (Lasky) folded in the charm of its method of telling a story. Its directness, the lack of intervening utterance, its very silence, all contribute to a fascination long proven to exist, not only for the mixed audience, but for those familiar with superior examples of the older arts. When these gentlemen come to us, as they surely will, with the finest products of their creative talent, unhampered by what they have learned in a totally different medium of expression, with a cause that is compelling, it will be with quickened fondness, for what can give such free release to their forces. Scene from "The Squaw Man" (Lasky). Note the characterization in action of the Indian maid when the man she loves goes snow blind, when she follows the trail of his horse until she finds it where he was thrown, and thereafter trails his steps to the sulphurus crevice into which he has fallen. Note the impression made by witnessing her patient courage and native resource in the almost insurmountable task of rescue, the comparison suggested of her sturdy and simple devotion to the dependent and resourceless man hunter of civilized society, the lady who affects to steer the boat while man does the rowing, who relies on sex attraction rather than sex qualification. The physical superiority and mental alertness of the woman enjoying fewer advantages could never be so forcibly presented in the related narrative as in the pictured story. Note the compelling beauty and nobility of actual scenery as compared to stage affectations. The complex impression produced is powerful enough to make one subscribe to the view expressed by a great creative critic, ".\rt's first appeal is neither to the intellect nor to the emotions, but purely to the artistic temperament that guides civilized man back to nature for relief." The same critic said, "I hold that no work of art can be tried otherwise than by laws deduced from itself; whether or not it be consistent with itself is the question." Note the Indian maid "fighting it out alone in the foothills, only nature looking on," the distance tragically mellowed by a setting sun — how fascinated we become by this visible world of form and color, not only because its delicate beauty is so appropriate to a communion of a human soul with the spirit of the Great Invisible, but because of its imaginative insight and poetic aim! This one scene might well have been the last, discovering, as it does, the finest sentiment of the story, the tortured appeal of a human heart— "will we ever come to our own?" Sickened with pursuit of the unattainable, how often have each of us secretly communed with something we only vaguely recognize as a power that makes all our boasted ones pitiful. Such occasional glimpses may be less intelligible than those more commonplace, but they belong to life in its artistic entirety, enter a sphere of deep feeling, stir the nobility too often dormant within us, rouse our better selves. The touches of great beauty contain a secret of success known only to screen presentation — they cause us to surrender ourselves more completely to the story that is being told and to love this new art for its own sake. Ben W^ilson. Director, Author, Leading Man. BEN WILSON, hero of the Edison "Cleek" series, rinds a new outlet for his tireless energy in "When the Cartridges Failed," which he wrote and directed, and in which he played the leading part. Mr. Wilson has been playing stellar roles for Edison for several years, both in the New York Studio, California, Bermuda and Cuba. A pleasing personality, a thorough technical knowledge and rare histrionic gifts have placed him among the foremost photoplayers. Having studied the methods of various directors and formulated his own ideas on the subject, Mr. Wilson decided that he would like to produce a film of his own. Accordingly he wrote "When the Cartridges Failed" and requested permission to direct the picture himself. When he had outlined his plans, permission was readily obtained and he set to work. In addition to directing the film, Mr. Wilson also assumed the leading role, a most difficult task that is attempted by but few directors. He has succeeded admirably in his first effort, producing a virile drama with an abundance of action. The entire production might well be that of a veteran director, so carefully is the story knit together, while the trifling details which prove pitfalls to the less experienced producer have been scrupulously guarded against. Ben Wilson. INSTALLS PICTURES. Walker & Kellog's $60,000 theater at Aberdeen, S. D., has been leased by E. B. McCollom, who will exhibit moving pictures each day in the week with the exception of one day when the owners of the house will put on a road show. A Johns-Manville asbestos booth ,a 1913 Motiograph machine. a Mirroroide screen and a Fort Wayne compensarc are among the new installations. General Film Company service will be used. The picture program will be changed three times a week. No Sunday shows will be given. C. C. Baker, manager of the American Moving Picture Co., Britten, S. D., superintended the work of installing the picture apparatus.