The soul of the moving picture (1924)

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Film Adaptation 147 compilation there would not be a single trace of Shakespearian spirit. In such a thing the riddle of Hamlet would not be solved but cracked. But since film adaptations are the order of the day, we might as well pay them our respects, bow to them, and confess that they exist. There is no use to deny the existence of that which already exists; a fact is a fact. Moreover, film adaptation is not so contrary to all the laws of nature and art as it would seem at first blush. For there are many poetic creations of magnificent beauty of action whose picturesque fullness poetry alone can do nothing more than merely touch or indicate. There are other poems whose world of feeling is congealed in cold abstract thought. In such cases the motion picture reclaims its original due. There are also poetic works, such as Schiller's Fiesko, which are just as effective in the poetic form as they are in the form they take on at the hands of the motion picture. A work, consequently, the sensual action of which is so strong that a masterful, and dignified, motion picture can be made from it, may be adapted to the screen. To transform a creation of the human mind and soul which constitutes, judged from every conceivable point of view, a work of real and great art from the sphere in which it originally stood, and in which it was originally created, to