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FEBRUARY 1924
Pictures and P'icfrjrepuer
He shot it all the way from Park 1.. unto Putney and a good deal further than that. IK took the lid off London to see what niacin the wheels go round, and when he had found out how it
worked he packed up and hustled home.
. . . And London went on jum as
if nothing had happened . . . Poor Bryant !
\nd what of our own films, Mr. Griffith? We are proud of our own country, you know. We think it beautiful as you Ao. We see it photographically as you do. We revel in its
tradition, its aye, its legends, as you would like to do. And, to be quite honest, you have arrived rather late in the day, you and your American colleagues. For there is hardly a corner of the British Isles which we have not already screened, and screened — though we say it as shouldn't — remarkably well.
Come with us, Mr. Griffith, and we will show you England through the lens of an English camera. It doesn't much matter where our journey begins. You shall land on our south-west coast, at the Devon fishing village where Harbour I ights was shot. We will travel along the shore and you shall see the beautiful bays ami cliffs of Cornwall as Henry Edwards has caught them in his Millais-like idyll of Simple Simon. To Beaulieu next, where The Virgin Queen was filmed in the leafy splendour of the New Forest; where Beaulieu Abbey, with its wealth of historical memories, stood grey and stately over the gay colourings and torchlight processions of Elizabeth's Court.
Givyneth of the Welsh Hills will speak to you for Wales. There you can see pictures of Cambria's mighty mountains — far more beautiful than your own Rockies — and of the gloomy tarns that are peculiarly Wales' own. You can look across vistas of snowcapped range and misty valley, and
Reading downward : A typical hit of English countryside in a Hepworlh film. Epsom raees; and a street in Limclu photographed for Barrymore's "Moriarty."
breathe the keen air of the mountain
ss.
In A Romance of Wastdalc you can climb Great Gable with Milton kosmer and Fred Raynham, and, before the mists enclose you. see at your feet the chain of our English Lakes.
As we are now so far North we will cross tbe Border and see what our producers have done for Scotland. There is no dearth of film material here, and long ago the motion-picture camera became a familiar sight to the Scots country folk. Wee McGregor's Sweetheart was followed by The Lilac Sunbonnet, in which Sydney Morgan caught pictures of loch and mountain.