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COMMENTS ON PRODUCTION 229
might have been expected, there were many investors who resented the coming of this new thing that might affect their future. It is human to resent anything that is new, but sound challenges the best of the creative minds in the industry. Those that embrace it with intelligent application and sympathetic understanding recognize in it a higher type of dramatic expression and realize that in its development it is not necessary to sacrifice the fine traditions of film production.
Recent productions of stage plays demonstrate that these can be produced on the screen with much of the solidity and force of the original. The motion picture, however, is not a device solely for putting stage plays on the screen. Screen art, even with sound, must be considered in a light more of story-telling than of histrionic technique. Merely because the motion picture can talk it has not thereby changed its status. Rather, the motion picture with sound will continue, as in the past, to develop a method entirely of its own, with a much greater range than is possible on a limited stage. It is not by imitation that the talking screen will prosper, but by forging ahead in the same way that it did in its silent days. The sound motion picture will evolve its own actors, its own stories, and its own improved technique, and will bring to the screen a type of entertainment that has never in the past been possible. This contention has already been proved without question by the productions starring Al Jolson, by In Old Arizona, by The Broadway Melody, and by others of the same form. When sound is used properly, whether it be spoken, sung, or instrumental, it adds drama to the silent picture, gives it a new vitality, and makes it broader and more satisfying. Most prominent screen celebrities, too numerous to list, are successfully making sound pictures. Every branch of the production trunk of the industry is contributing to make a newer and greater