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14
Pict\jre s and Pichjre poer
APRIL 1924
Most of the favourite " Thou Shalt Nots " of the credulous have come to the silver sheet.
Reading downwards : The Gypsy's Warning, Marie Ault and Ivy Duke; Crystal gazing
in " When Knight
h o o d z\.' a s i n
Flower.'
Kosloff
society
with a
devotees
Prodigal
tious heroines — notably Marion Davies in Knighthood — consulting Fortune tellers and gypsies, those modern descendants of the much abused witches.
Credulous folk will tell you that for a bride, clad in her bridal dress, to show herself to her future husband on the eve before her wedding day, is terribly unlucky. This is fully borne out in Silent Evidence, for the bride who courts disaster in this way stops a bullet intended for her fiancee. Superstitious people must find real satisfaction in a film of this sort. It is like a backing up and substantiation.
for witchcraft it is because the crudity of the entertainment no longer appeals to us. Nevertheless, we still make our little sacrifices on its altars — our subtle little recognitions of its existence, though we deny our belief in it. Even as we scoff at it, we find ourselves walking out of our way to escape passing under a ladder, tossing a pinch of salt over the left shoulder, and doing, half unconsciously, one of the hundred and one other little superstitious actions.
m
The truth is, superstition has become part of us. If we would we could not get away from it. It has even crept into our films. On the screen we see the disastrous result ol sitting thirteen at a table, of walking under a ladder, and of breaking a looking glass. Wallace Reid, in TinProdigal Knight, smashed up first a looking glass, then a whole room. " In consequence of the first accident, of course," shouted the superstitious spectator. We see, too, many supersti