The Eagle (United Artists) (1925)

Feature Stories Qood Before or During Run CAMERA’S TACTICS ARE FULLY EXPOSED PICTURE MAKING IS TECHNICAL WORK VALENTINO TEARS BEYOND CONTROL VALENTINO REALLY WEEPS IN PICTURE Made to Do Odd Things in “The Eagle” New Valentino Film The camera has exposed so many peo¬ ple that it is about time it was exposed itself. This Peeping Tom has a way of hiding in dark corners, spying on folk and then telling the world the se¬ crets it has learned. Where does the camera hide? Where is it for instance, while photographing close views of a moving airplane? Al¬ though the airship is speeding through the sky, it does not move out of our vision. Our special investigator re¬ ports that this is because the camera is in another plane moving at the same rate of speed. The stealthy camera had to devise a new means of keeping up with the fleet Rudolph Valentino in scenes which he took for “The Eagle,” his first United Artists Corporation production, now showing at the . Theatre. The scenario required that Rudy, on horseback, should rescue a fair maiden in a runaway carriage. A camera was mounted on an automobile trailer, which kept just ahead of the galloping horses. Clarence Brown, the director, and the cameraman rode backward, fac¬ ing Valentino. Another camera was sunk in a pit, with the lens pointing up. As the horses jumped over it the camera, which is operated by electricity, got a “worm’s eye” view that is thrill¬ ing. Another novel device was also used in “The Eagle” for photographing a long Russian banquet table. A plat¬ form on wheels straddled the table. On this the camera was mounted so that it looked down on the diners. As the platform moved, the camera got a close- up of all the people and also of the rich Russian food. A dangerous scene or a big crowd scene is usually “shot” by numerous cameras placed at different angles. An effective way to photograph a fall from a building is to have the camera on top of the building pointing down. The picture on the screen is the same view you would have if you were standing beside the man when he fell. The camera is frequently placed on a moving platform to give the same effect as described in the Valentino runaway scene. The camera can also be “panned” (that is, turned in pano¬ rama without changing the position of the tripod). This gives the same view that a person gets in turning his head from one side to another. Incidentally, very few of the cinema¬ tographers actually crank their cameras any more. Most of them use electrical motors, which are more accurate than the hand in determining cranking speed. It will probably amaze the layman to know that the slower the camera is cranked the faster the pictures will move on the screen. “Slow motion” pictures, popular in the news reels to show how athletes do their stunts, are made by fast crank¬ ing. The reason for this is simply that moving pictures are nothing more or less than a series of “still” pic¬ tures, each varying but little and pro¬ jected with such rapidity that the ac¬ tion is continuous. Fast cranking re¬ cords a greater number of “still” pic¬ tures and thus makes the action slower when projected. Director Must Understand Fully All Complicated Mechanics of His Art No other art is surrounded with as much mechanical and technical detail as the motion pictures. Writing is the simplest, requiring only paper and pen¬ cil or a typewriter. One hears now and then that an author has dipped his pen in vitriol or even in his own life blood, but these expressions are be¬ lieved to be merely figurative. Painting and sculpture require the use of brushes, mallets, chisels, scant draperies and whatnot, but they are simple as compared to the making of photoplays. The stage nearest re¬ sembles the screen. It has its prob¬ lems in lighting, settings and none-too- good actors, but it is not nearly as com¬ plicated as its younger sister. Cameras, lights, settings, film and projection make the production of mo¬ tion pictures a complicated business as well as a subtle art. To imprison on a narrow strip of celluloid the thrill of high drama or the guffaw'of broad comedy is a task of no small propor¬ tions. It is for this reason that the screen director is so much more important than his stage brother and is paid so much more generously. Clarence Brown, in the public eye as the director of Rudolph Valentino in “The Eagle,” his first United Artists Corporation production, now showing at the . Theatre, has a background which is generally con¬ sidered as unusual for a director, but which, in view of the foregoing facts, seems rather a logical training for his present occupation. Mr. Brown is an engineer by education. He holds three university degrees in mechanical and electrical engineering and was at one time Southern sales manager for a large automobile factory. Previous to his entrance into motion oictures he had no connection with the stage or any of the arts. He main¬ tains that even now he has no knowl¬ edge of the conventions or tricks of acting. He says that all he tries to do is to get natural reactions from his alayers. What would a person do under these given circumstances? That is his only formula for directing. Of course, his engineering knowledge make the tools of trade ready instru¬ ments. The director is surrounded by expert cameramen, art directors and electricians, but even so he must under¬ stand his medium thoroughly if he is to work easily and capably. “I feel that my engineering knowl¬ edge is a valuable asset,” said Brown. ‘‘It taught me to think in terms of measurements. Now a motion picture s nothing more nor less than so many feet of film. Footage determines the tempo of the action. Tempo is just as important in pictures as it is in music. I find that I subconsciously think in terms of footage. If' my pictures have shown any unusual qual¬ ity, I think it is due to this.” Mr. Brown attracted attention with “The Signal Tower,” “The Acquittal,” “Smouldering Fires” and “The Goose Woman.” He recently signed a long¬ term contract with Joseph M. Schenck, one of the outstanding producers. Romantic Star’s Emotion in “The Eagle” So Great He Couldn’t Stop Weeping A great gaunt man lay dying on a rude cot in a little Russian hut. The paleness of his face rivalled the white¬ ness of his thick and touseled hair. Russian peasants stood solemnly around the deathbed. A patriarchal priest ad¬ ministered the last rites. All of a sudden a handsome young Cossack officer, resplendent in pictur¬ esque uniform, entered the door. His vitality was in striking contrast to the scene about him. All turned to him as to someone long awaited. The dy¬ ing man made a feeble gesture of love and despair, and muttered one word— “Son.” The officer took in the situation at a glance. He stopped for a second as an expression of unutterable grief wrote itself on his mobile face. Then he knelt at the bedside. Tears filled his elo¬ quent black eyes and overflowed to his cheeks. The peasants, moved by his sorrow, joined him in tears. Through the window you could see the setting sun, hanging to the horizon as if by a thread. It lingered only a few seconds. Then it, too, was dead. From somewhere came soul-searching, music such as only the Russians con¬ ceive Then it ceased, and for a mo¬ ment there was a crushing silence. “Great! Great!” shouted Director Clarence Brown. “Wonderful!” The young officer—sometimes known as Rudolph Valentino—was still cry¬ ing. His emotion was too deep to stop when the camera ceased to click, but a few minutes later he was laughing through still wet eyes. Inquiry developed that this was a scene from “The Eagle,” in which Val¬ entino is starring for United Artists Corporation release, and which is now showing at the . Theatre. But that hardly sounds credible, for we all know that movie actors are not capable of deep, authentic emotion. SYNTHETIC COBWEBS A PHOTOPLAY NEED Director of New Valentino Film, “The Eagle” Solved the Problem WANTED : Regiment of spiders for mo¬ tion picture work. Must be hard workers and spin an artistic web. The above advertisement'may yet be found in the newspapers. You see whenever an unkempt room is shown on the motion picture screen it must have cobwebs. A Russian wine cellar, built for “The Eagle,” Rudolph Valentino’s first United Artists Corporation production, now on view at the . Theatre, had to look old and musty. It was needed in a hurry so there was no time to re¬ cruit spiders.. The problem was solved by Director Clarence Brown, who found he could manufacture excellent imitation webs by placing a special kind of glue between two blocks and then pulling the blocks apart. The spiders are expected to enter a vigorous protest against the unfair com¬ petition. Actual Tears at Deathbed Scene in “The Eagle,” Star’s New Film Rudolph Valentino cried real tears while enacting a scene showing the death of his father in “The Eagle,” his first United Artists Corporation production, now showing at the ... The¬ atre. The father, played by Spottiswoode Aitken, lay on a rude cot, surrounded by Russian peasants. Valentino, garbed as a Cossack officer, returned home just before the old man’s life flickered out. An expression of unutterable sorrow came over his face as he knelt at the bedside. Then the tears came rolling down his cheeks. The feeling was so real that the extras also wept. The only happy person was Director Clar¬ ence Brown, who was delighted that he has evoked so much grief. No artificial means were used to bring the tears—that is, nothing but the orchestra playing solemn Russian music. “The Eagle” is not a sad picture, how¬ ever. Those who have seen it at the . Theatre have been de¬ lighted by the large amount of comedy which it contains. RUSSIAN STYLES FOLLOW FILM PLAY Young Men May Wear Side¬ burns a la Valentino in His New Picture The Russian 'motif will be strong in women’s clothes following the release of several big Russian motion pictures, according to Hollywood costume de¬ signers. Blouses are expected to be popular and there is a leaning toward the Rus¬ sian boots on the part of the more dar¬ ing dressers. Rudolph Valentino, who stars in “The Eagle,” a pretentious Muscovite picture now showing at the .The¬ atre, wears sideburns. It will be inter¬ esting to notice if the young men will follow him in this style as they have in so many others. Vilma Banky, his leading woman, wears some charming costumes which can be adapted for American wear. Gilbert Adrian, designer of the cos¬ tumes for the Valentino film, predicts that Russian embroidery and design will become very popular. He also foresees a revolution against the man¬ nishness of women’s dress. “Femininity will be stressed in wom¬ en’s clothes from now on,” says Adrian. “Frocks will be more airy and grace¬ ful with fuller lines, in contrast to the masculine severity which has been in vogue. Simplicity will continue, but it will be freer and more decorative. Gar¬ ments will be frilly but not fussy.” “The Eagle,” which is Valentino’s first picture for United Artists Cor¬ poration, was directed by Clarence Brown.