The soul of the moving picture (1924)

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88 The Soul of the Moving Picture one of the countless South German villages and taken the photographs on the spot? Illustration No. 13 is a trick setting from Lubitsch's Sumurun. It is only a few yards in height, and the effect produced is so natural that one fancies one is really surrounded by colossal buildings that stand out all alone. Illustrations No. 14 and 15 offer an interesting study in comparisons. In No. 14, the grandiose scene from Madame Dubarry (smaller minds have all too often been influenced by this scene, to their own detriment), we have a chaotic fullness from the masses, and an architectural ensemble in the buildings included that is rather hard to study in the right perspective. It seems on the whole somewhat disconnected. But in this very lack of composition the picture reveals a fabulous fidelity to life; this is just such a scene as real life throws on the canvas. In contrast to this we have the bold composition of the pictures from Anne Boleyn. It is in beautiful style, in the manner of the Meininger Stage. There is fullness and there is order; it shows genuineness instead of truth. A continuation in the development of this imitation, which in this case is ramified and multiplied down to the last and minutest bit of gim-crack on the houses, is no longer possible. Such additions as may be made will have to consist, not in