Screenland (May–Oct 1925)

ooks for CjJ ilms Box," 1 WENTY years ago, when Harold MacGrath wrote h i s "The Man on the he could have had no thought that in 1925 his story would be considered to contain all the necessary elements of the perfect motion picture play. The picture industry was then in its earliest infancy, and the most extravagantly optimistic enthusiast could hardly have conceived such perfection in the then new art as has since been achieved. Now, Mr. MacGrath's story is to be offered to zinema audiences, having benefited by every advantage that modern picture production affords, plus the splendid art of Sydney Chaplin. "All the necessary elements of the perfect motion picture play." The query naturally arises: "What are the necessary elements of play7" Q Why "The Man on the Box" ■was good screen material. By Albert S. Howson Cf S\d Chaplin, starring in "The Man on the Box" which Warner Bros, are filming because this story has all the essential elements of a great photoplay. the perfect motion picture Perhaps the greatest and foremost qualifications of any successful play or story are: its appeal to the fundamental human emotions, its fidelity to life, the sympathy it establishes in the minds and hearts of its audience, or reader, with the follies and frailties, the sacrifices and sufferings, the heroism and fortitude of its characters. Invariably the audience must be aware of the motives of the characters, though they themselves act or speak at crosspurposes. Motivation of character is most essential, action an absolute necessity. In "The Man on the Box" the hero disguises himself as a coachman in order to be near the lady of his heart, and in this guise is subjected to the gibes and indignities heaped upon him by his friends. Here we have a situation which, while exciting the risibilities, at the same time stimulates the sympathy of the beholder, for if "all the world loves a lover" surely this lover is loved; and more especially will the ladies sympathize with him and his "her." How fervently will they hope that all may be well, and inwardly "agitate" at the disaster which constantly threatens the union of these loving hearts. ' Sympathy is the keynote of all humanity, be it engendered by humorous or tragic circumstance. Mr. Mac Grath himself tells a story of Rastus, who, anticipating that season of festivity and rejoicing which marks the beginning of the calendar year, decided that he would 1 a y aside a small weekly sum toward the purchase of good cheer. The day arrived and with his "ten," the fruit of his selfdeprivation, he ambled forth. The treasure secured, a problem confronted him — how to convey it safely home. He placed it against his chest, buttoned the lower button of his coat, and cheerily went his way. The day was raw. He had almost reached his destination, when an uncontrollable desire seized him. He sneezed. His abdominal muscles contracted, his treasure, released from his security, crashed to the pavement. Glass is but glass. He gazed upon the ruin with lack-lustre eye and ruefully scratched his head. "There's New Year's,"said Rastus, "there's New Year's come and gone." Again I say, sympathy is the keynote of all humanity. In judging and selecting moving picture material, the scenario department must take into consideration many things, and view the prospects from various angles. A primary thought is whether or not the material under consideration is in any way censorable. Many splendid books and manuscripts have been rejected because they contained matter that did not accord with the standard which Warner Bros, have set for themselves and their product. In discussing such material with persons submitting it, they have frequently been offered suggestions as to how the story might be altered to conform to their requirements. Such methods are not employed, however; their object is at all times to keep faith with the public. The director is an all important factor, for in the last analysis it is he who can make or mar a picture, and in the latter case undo and set at naught all the work of all the departments of the firm. The Warner Brothers are particularly fortunate in their staff of directors, headed by their ace, the brilliant and versatile Ernst Lubitsch, whose latest masterpiece, "Kiss Me Again," but raises him still higher on his pedestal of supremacy. 31