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Editing the Film
of an unknown actor at a preview causes great stir among the film producers. There were retakes galore to enlarge, or in film parlance to "fatten," the part of a little girl called Deanna Durbin after a preview of Three Smart Girls had given to her work an audience verdict of extraordinary enthusiasm. And at a preview of a certain college picture a few years ago, no one grew excited about the star, a well-known Broadway stage favorite. But dozens of preview cards came in saying, "Who is that fascinating fresh kid?" The "fresh kid" was Robert Montgomery, and within two years he was in the rarified circle of screen stardom.
The retakes ordered after the first theatre preview are perhaps the most important because, as we have seen, comparative dramatic emphasis has had an acid test under exact theatre conditions. By thus correcting matters of emphasis, retakes frequently carry a picture from mediocrity to greatness.
The Sin of Madelon Clandet offered particularly definite proof of the importance of clever, thoughtful retakes. This photoplay, in which Helen Hayes was the star, told the story of a mother's sacrifice for her son. It was first previewed at a suburban theatre, and it did not meet with approval. People laughed at the wrong times and pathetic scenes left them unresponsive.
Retakes were made. When these were read there seemed to be very little difference between them and the original scenes, but the emotional impact of the new scenes was far more accurate and sincere. Previewed a second time, the picture succeeded gloriously in impressing its audience.
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