Moving Picture World (Jan-Feb 1927)

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326 MOVING PICTURE WORLD January 29, 1927 Above, shadows that he creates in “The Cat and the Canary.” Less Than a Year in America , This Genius From Germany Ranks With the Great As Director For Universal PAUL LENI eni earns The L mso By SUMNER SMITH ESS than a year ago a portly little man with comedy features and twinkling eyes landed in the United States after an ocean voyage from Germany. He had boarded the liner without having a word of English at his command; on his arrival seven days later he made himself perfectly understood by the American film man who met him. From his rapidly acquired vocabulary the German chose individual words that expressed his meaning more clearly than a dozen faltering sentences in the English we often hear, and topped them off with an illumining gesture that left no doubt as to his meaning. The traveler was Paul Leni, German illustrator, painter, builder of scenic effects, architectural expert and motion picture director. The man who greeted him at the pier was Paul Gulick, director of publicity for Universal. “It was the most remarkable demonstration of rapid language study and brilliant pantomime that I have ever known,” says Mr. Gulick. Paul Leni, signed by Universal to a five-year contract, has continued to astound company executives. In fact, all production forces on the West Coast are watching him, and news of his accomplishments have reached the big guns of all companies in New York. What are these accomplishments? “The Cat and the Canary,” now in the cutting room, will demonstrate. From authentic sources comes the word that Leni has produced a picture, his first in this country, that for scenic effects as well as story value has seldom if ever been equalled. “The Cat and the Canary” enjoyed a long run as one of New York’s spookiest stage plays. According to the “rushes,” which Universal executives daily flocked to the projection room to see, and the “stills” on the picture, Leni has, in the production of eerie effects, far surpassed the stage play and, perhaps, other similar motion pictures. Shadows are the keynote of the Leni picture. His sets are notable for their simplicity. He believes that Gothic signifies mystery, and every window, panel, table, chair and lighting fixture in the picture is Gothic. Gothic casts irregular shadows that furnish just the atmosphere for a spooky picture. The walls, for the sake of shadow effects, are plain. Universal is overjoyed with Leni. For two reasons. He is showing more real talent, they claim, than any other German who has came over here to direct. And he is easy to work with because he does not know it all. Leni holds that art is international. He asked not for a German type of picture but the American type. Many conferences were held until “The Cat and the Canary” was selected as a typically American type. Leni even applied for citizenship papers. Long before his vehicle was selected Leni endeared himself to every man with Universal. He is brilliant, charming, reasonable and eager to learn. When he found that his lighting scheme, which featured shadow effects, did not bring out the faces of the players, he frankly admitted the oversight, which was noted in the first “rushes,” and devised an ingenious Out ot the routine ot things — another Leni note in “The Cat and the Canary.” method of counteracting it. Wells were cut in the floor of the stage and men sat in them with spotlights focused on the faces (Continued on page 362)