Screenland (Dec 1927-Apr 1928)

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The distance itself is less, for the gun can cover it in a second. She is about to shoot . . . but cannot . . . and drops to the sofa. This time there is no panning. The distance between them does not matter — they might be miles apart or close together — for the emotional tension is broken. The shot is broken, too, we do not pan, but cut direct. It is by such a technique of speeds and angles that pictures are interpreting emotions which, on the stage, can only be expressed perhaps by a gasping breath; in words, only by impossibly long and tedious descriptions. Pictures are expressing emotion more perfectly, more tersely, and more intensely than any other art, and for this reason I believe they will outstrip the other arts in the not too distant future. And the last shot of this picture! The old general has for a moment relived his former greatness — in a movie — has led the charge against the enemy and won. He falls to his death among the Klieg lights and the imitation snow of salt. The director, knowing his greatness, covers him with the folds of the flag he loved — now a prop flag. It is a moment of high tragedy. And the camera withdraws from the scene at such an angle that the lights, gobos, cameras, and other studio paraphernalia gradually rise up and form a pattern between us and the dead prince. The picture fades out, showing us that these everyday things of a work-a-day world will assume their ordinary proportions, and blot out even the tremendous emotions we have shared during the picture. The picture fades out as the camera is still moving. For this is not the end. Everyday things will forever blot out high emotion, but everyday things will move aside again to reveal the drama of a sincere life. Only a movie could express this thought so quietly at the end of a great picture. And only a great director would employ movie technique to express such a thought. For a director's greatness is largely shown in the quality of his comments on the story. The story is the same, but the scene, angles, speeds, dissolves, cutting— the whole picture technique — these are the director's comments. They show his attitude to the story. They are his style, they reveal him as an artist and a man. They show von Sternberg in this picture not only as a catholic and sympathetic observer of life, but as something of a philosopher and a real emotional artist. Now that picture technique has developed to such an extent, what the industry most needs is critics who realize this technique, who know its limitations, and can imagine its possibilities. And I believe such critics are more likely to come from inveterate movie fans who love and study their subject, than from even the best converted critics of the drama. Those Ad Endorsements Continued jrom page 33 der to sell exclusively to negroes, with the inference that an application of the powder would assure a complexion equal to the star's. Dolores Del Rio has been requested to endorse a false eye-brow, a boudoir cap. a shoe polish, a wine tonic and a line of bath fixtures. Anything from a plaster to a printing press may be included in the list. Some of the stars refuse to allow their names to be used in endorsements. Among these are Pola Negri. Ronald Colman, Vilma Banky. Marion Davies, Douglas Fairbanks. Mary Pickford, Norma Talmadge, Greta Garbo. Lon Chaney, Mary Astor and many others. In the old days, a small fortune could be obtained by the stars for the endorsements. Jackie Coogan. at the height of his popularity, is said to have drawn $25,000 a year royalty from a single product named after him. Under the new system, very few stars get money for the use of their names. What they do get is unlimited publicity. One breakfast-food tie-up which is eagerly sought by all the stars today puts their pictures on 6,000 billboards and more than 20,000 window cards throughout the country. Frequently, now, there is no endorsement required by the manufacturer, merely the privilege of printing the picture of the star in his advertisement. The inference, of course, is that the star uses the product, but the advertisement does not say so. Billie Dove's picture is used by a certain manufacturer of rubber heels in a tie-up of this sort. Paramount-Famous-Lasky has a fixed rule that there shall be no actual endorsements by any of its stars, only their pictures printed with the advertisement. Many years ago a woman got a stiff judgment against a star for endorsing a cosmetic, which scarred her face. Since then. Paramount has been down on cosmetics. They also refuse to allow their stars to consent to the use of their pictures with any product claiming to create beauty. This is done on the theory that the public likes to think of the stars as born beautifui and not as manufactured beauties. Another ban of Paramount is on underwear advertisements. Metro-Goldwyn-Mayer has a ban on bathing suit tie-ups. First National, on the other hand, believes that these are all right for young stars. Anything that a star uses, or normally might use is a legitimate field for an advertising tie-up, according to the theory of this company. It didn't take long, with this in mind, for First National to turn down a request for Billie Dove's endorsement of a wrinkle remover, or for that of Milton Sills for a saxophone. Colleen Moore and Richard Barthelmess are the only two stars under contract to First National who are exempt from advertising tie-ups if the company wishes them.