The soul of the moving picture (1924)

Texts 29 to such as can be fully and adequately interpreted through gestures alone, and without the use of even the briefest of explanatory text. The American, who troubles himself but little about theoretical considerations, frequently mounts, in less important films, individual scenes with six or more bits of text arranged in remark and reply. There has been a tendency of late, however, to exercise greater moderation in this respect. The whole matter can be summed up by saying that with regard to the number of interspersed words, and the length of the explanatory sentences that are used, one's feelings are the only safe criterion to follow; and they set down this as an infallible guide : A text is good if it is effective. It can be effective only when it harmonizes with the pictures. And if it is to be effective — that is, if it is to find its way to the heart, the very narrowest of limitations are imposed upon it. The business of depicting feelings must be left to the actor. Any feature of the action that cannot be controlled in an unconstrained way by the art of mimicry must be cared for by the text. Under this heading would fall the announcement of decisions reached or resolutions made by the participating personages. But when the text essays to chew, swallow, and regurgitate what our