The Photodramatist (May 1922-Feb 1923)

At Left: unusual setting from "Four Horsemen of the Apocalypse" showing characteristic apartment of the old philosopher. At Right: a different type of 'set,' producing effect of exotic splendor as shown in the Roman orgy sequence of "Manslaughter." In the Center, G. Harrison Wiley, noted expert on motion picture art. Cinema Architecture Unity of Theme and Background Is 'Frozen Music' of the Screen By G. Harrison Wiley a\ RCHITECTURE," it has been remarked, "is /~\ frozen music." One cannot study long the history of the great architectural epochs, nor gaze upon the splendid structures that in them have been brought forth, without realizing the aptitude of this description ; without sensing, however thick-skinned or blase one may be, something of the sublime and inspiring harmonies that exist in the studied lines, planes, lights and shadows of the truly great architectural works. Harmonies that rather than vibrant, insistent, are immutable, placid ; and yet in whose overtones of changing viewpoint, illumination and mood of the beholder, there is a variety as infinite as in the overtones of the human voice. Harmonies that are apparent to, or felt by, many, yet are susceptible of definition and employment only in the degree that the beholder or designer is erudite or inspired. These harmonies of form and proportion, like the harmonies of music, are not however, in themselves complete, and have alone little significance. Another element is of vital importance, an element that brings to the simplest harmony of notes or forms a deep, compelling, human interest ; without which the purest tones, the most refined and balanced forms are aimless ; lifeless ; the element of theme, "an underlying, unifying basic idea." TN the design of each of those structures that the -* passing of time has proved to be of lasting worth and beauty, there has been expressed such a theme or idea. Time, place and people have each influenced the development or growth of this idea. It has been in many cases, the expression of a national thought, the record of a race, a delineation of character, mode of life or manner of thought. But always these structures expressed in their forms a well and shapely defined theme, suggested, or rather perhaps induced, in the intended use of the finished work. Sombre, intricate, heaven aspiring are the lines of a Gothic cathedral, erected to glorify an involved and distant God, by men in whose breasts burned a sublime ascetic passion. Delicate, graceful and richly ornamented, the Taj Mahal was built for a powerful Indian Rajah to receive all that was mortal of his most beloved wife, and stands as the monumental expression of a human affection enduring beyond the grave. This relation between harmony of architectural design and theme, is a relation of tremendous value to the screen, and may be used as a force of imposing strength in the telling of a picture story. Now, and in the future, the makers of the most successful photodramas are and will be the men who best understand this relation, who are able to use, skillfully, the great gamut of form harmonies, frozen music, in their full power as an accompaniment to the melody of a simple tale. FORTUNATELY, there are in the industry sev*■ eral such men. Unfortunately there are many whose perception is less fine and to whom the architectural factors, the settings of a picture, are but necessary evils, to be despatched as speedily and cheaply as possible, or, in the other extreme, as gaudily and expensively. An attitude, in either case, you may be certain, that is responsible for the many inconsistencies of background, confusions of thought and vulgarity of effect that find their way to the screen and cause people of discernment and culture to indict and eternally damn the "movies" as crass, crude, illiterate and even degenerate. It is my sincere belief that just a moment more of thought given to the settings by both Writer and Director, could and would avoid these inconsistencies and weaknesses, which, while perhaps not singly glaring and obvious, serve en masse to disturb and dis 11