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fooled. Some of the best 'knockouts' are given 'off stage,' and the victor drags in his defeated adversary from the wings. There is no 'off stage' in the films. The fans must see everything from start to finish — and no excuses go.
"Again, how often has the dear public unsuspectedly fallen for this sort of thing: The hero and the villain meet in a miserable den of thieves to which the hero has been decoyed by a fake note, signed 'Your ever loving' so and so. When the hero wakes up to the fact that he has been trapped, and is alone with the villain, a fight for life ensues. But mark what usually happens. The hero, seizing a piece of furniture, smashes the dimly-burning oil lamp and a fearful scuffle ensues in semidarkness. When the hero is rescued by his faithful servant, 'lights up' and you see the debris. That is where the stage has an enormous advantage over the films.
"Another thing, a stage fight is the result of long and carefully planned stage rehearsals. Everything is laid out and every moment calculated to a dot. No screen director can do this — for obvious reasons. He merely outlines the positions and lets his actors fill in the details. No prearranged fight can possibly look natural on the screen — as the eye of the camera is on the alert at every moment, watching for tricks and subterfuges, and quick to detect the slightest departure from realism. Nothing escapes its notice, for the camera is the most caustic critic of the drama. "
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