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What Do You Think
of COLOR?
Rouben Mamoulian, who directed "Becky Sharp," thinks it makes action twice as important as talk, and that it's here to stay
By ROUBEN MAMOULIAN as told to Jack Jamison
Top of page: Mamoulian with Miriam Hopkins and the crew. Above: Frances Dee and Cedric Hardwicke get final instructions for a scene of "Becky Sharp." And at the left: A portrait of the author of this story.
MOTION pictures are visual. They are primarily for the eye. If a person is blind, they don't exist for him; if he is deaf, they do. They are moving images, developing on a screen placed before the eyes.
At the start — twenty-odd years ago — those moving images were black and white. It was not a matter of choice, it was an accident. The only photographic process known at the time produced black-and-white pictures, and that was all there was to it; nobody as yet dreamed of anything else. At the start pictures were silent for the same reason. Nobody had so far imagined that they could ever be anything else.
But seven years ago we got sound, and now we have color.
I met Gertrude Stein recently, when she was visiting Hollywood. We had a violent argument. Miss Stein held that sound pictures were only temporary, and that we ought to go back to the silent film. I disagreed with her. When I saw my first sound film I was convinced that they were here to stay, and today I believe that color will stay. It is, today, where sound films were seven years ago. Today we accept talkies as an accomplished fact. Seven years from now, I am sure, we will similarly accept color pictures.
I am sure of it because I am sure color is integral with the screen. The screen, more than any art, is based upon the achievements of organized science. Before we can do the simplest things, in Hollywood, we must take for granted all the resources and accomplishments of hundreds of trained laboratory workers who have made our tools, as it were, possible to us. For years we did not even know that movies were an art. We thought they were a business. We knew it was a complicated (Please turn to page 44)
MOTION PICTURES became MOVIES
TALKING PICTURES became TALKIES
/' Hueies
Will COLOR
?
l Painties
PICTURES become
{ Tinties I Tonies
\ Brighties
16
The New Movie Magazine, September, 1935