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JANUARY 1924
Picture s and Picture $ver
43
careful arrangements of light and shade. But the pageantry of that sea
of upraised lances; the Castle, the camp, and the many fine interiors was marred by one obvious artificial Forest "set," an
indiscretion of which an Old Master would never have been found guilty.
Swedish film makers, and many of the Teutons, find inspiration in tinworks of Franz Hals, Holbein and Rembrandt. A Gay Knight andSnOWS of Destiny, were movies where every
group ami scene suggested a beautiful
painting. Holbein would have delighted in every foot of Youth to Youth, with its quaint interiors, and hundreds of years
old costumes, whilst Hilda Carlberg herself (she died very soon after the film was finished, aged eighty-one) was a perfect Rembrandt type. Holbein portraits of Queen Elizabeth too, were studied when The Virgin Queen was made, and with Denison Cliff's Mary Queen of Scots, no fault can be found in atmosphere, backgrounds, costumes and grouping. And the director went to the picture galleries for his data. Victor Seastrom re-incarnated Renaissance art in his Love's Crucible, scene after scene of which remains an unforgettable memory, and in Thy Soul Shall Bear Witness, pictures of a different, though equally compelling type abounded. Every variety of art, even Cubism and Futurism inevitably finds its way to the screen. Caligari is the finest example of Cubist Art in films, and in the opinion of the writer, the most fitting.
There are traces of Cubism in The Golem also, and in certain scenes of Dr. Mabuse; in each case its use is to suggest an atmosphere of eeriness and creepiness. Camera craft takes the
Millet might have painted this scene from " Through the Back Door."
The Hogarthian touch in George Pearson's "Love, Life, and Laughter," and a beautiful Stott study in " Tansy"
place of the artist's brush and palette in the photoplay. Just as the artist paints rather that which his soul sees than the actual lineaments of the model before him, so the camera, in the hands of a skilled photographer who sees eye to eye with the director can idealise and even etherealise scenes and faces. Stories of ancient days give great scope for artistry in the telling, but even modern stories can be worked out amid really artistic settings. Fitzmaurice's production of The Eternal City contains some exceedingly fine groupings, in the banquet scenes in particular, and here the beautiful Italian scenery has a value of its own.
The Beardsley tradition of Art would seem a difficult thing to transfer to the screen, but Nazimova managed to do it quite successfully in Salome. Quite