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Making Pictures
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By ¥>ettina Bedwell
.HERE seems to be a consensus amongst the critical intelligensia of America that the films "ain't as good as they used to be." But when these super-critics bring into comparison the film product of Europe as a superior artistic achievement, they are advertising the fact that they never lived in Paris and witnessed the nightly movie rehash of the worst in American film output coupled with inferior sets, lighting and movie-illusion devices generally.
Slim Pockeibooks of French Producers
average European moving picture production has the faults of the American, plus a slim pocketbook, the answer
[Raquel Meller, the Spanish favorite, and Andre Roanne, the French actor, in the French-made [dm, Violettes.
to which you can set down for yourselves. This plus feature eliminates, naturally, one of the worst of modern American film faults — the big-set, big-scene-dollar glitter. It accentuates the other faults, a bad story, artificial atmosphere and over acting of the old emotional school.
In France, the movies of which country I am going to write about, there is still the mistaken notion that all actors of the stage make good motion picture actors. Generally they do not, and French productions suffer by this illusion.
However, just to show that you can prove anything, I shall speak of the best motion picture films produced the past year, and shall mention casts drawn from the traditional sources of the Parisian stage — the Comedie Francaise, the Odeon, and the Palais Music Hall. These films were all produced by younger directors, of a new school in France, who are attempting to cure the sickness of the films.
<I T h e late Sarah Bernhardt in her last screenplay, The Clairvoyant, which w a s in course of filming when her death occurred. The Clairvoyant will be released in America this fall.
Some Prominent French Films
'The Wheel, which is a story of railroad life in France, starred Severin Mars, the veteran of the Comedie Francaise and a genius of the screen, sup
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