The Film Renter and Moving Picture News (Jan-Feb 1923)

January 1, 1923. © THE. FILM RENTER & MOVING PICTURE NEWS. “SUPERS” AND “SUPERIOR” FILMS. | The Pictures swhich: really are “Better ’’— and some Others. (By GRENVILLE ROBBINS, Film Critic of “T. he T imes."’) HE year that is just drawing to, a close. is, Hetwbie fo one thing ! a | least. That i is for the prodis that have. been afforded that the fil though it never would grow up. . It was certainly unfortuna the tea drinking in ‘‘ Pickwick Papers ”’ “‘ * wisibly Biore one’s wery eyes. A Distinction and a Difference. about the year has been the elevation of the *‘ super ”’ film into a kind fetish. A great cry arose for “‘ super-’’ films, and feverish attempts we two outstanding productions of the year--not only “‘ super,” ’ but distinct ” Storm, an entertainment contrived for those who sould neither read nor think. Some Big Productions. V.. at m is at last “‘ gr owing up.’ For so many years the film was the ‘‘ Peter Pan’’’ among the entertainments, It began to seem as te that it became so.excessively popular at an early stage of its development. It grew all at once like Alice during the adventures in Wonderland, and the growth of its intelligence could not keep pace with its physical expansion. For a little while the film seemed to resemble a brainless giant, and the stigma of those early years is still used as a.weapon of offence against it by those who refuse to recognise its virtues. In the same way, as people used to tilt at the stage long after it had lost its immorality, earnest ladies and gentlemen now attack the fatuities of the film when those fatuitjes are well on the way to being driven out altogether. Films are improving-by leaps and bounds, and this year it has been. almost possible to see thern doing 89 like the lady at Good films should not be eoniiised with " super, *? films. They are not by any means necessarily identical. The. good film is a work of genius. The ‘“‘ super ’’ film may-be only a matter of money... One. of the striking facts of re made to supply the demand. Exhibitors summoned ‘‘ super ”’ films from the vasty deep, and films pearing that description: actually came when called upon: These ‘‘ super ™ films were a motley band, and some of them were so grostesquely magnificent as to be most entertaining, ‘but the fact: remains that among all this chaff there were a few grains of wheat. I think that the ly superior films—were Mr. D. W. Griffith’s latest production, ‘ ‘ Orphans of the which was shown at the New Scala Theatre, and ‘‘‘ The Four Horsemen of the Apocalypse,”’ which is still running at the Palace Theatre. No one could fairly say after seeing these films that the kinematograph was The two most interesting films of ine year were the two most Geapacint: ing. ‘‘ Passion,’’ the long-awaited German “‘ super’’’ film, was handicapped GRENVILLE Rospins. by its age and its similarity to ‘‘ Orphans of the Storm,” but it was obvious , that here there was not an epoch-making production. Even kinema audiences appreciate a faint leaven of humour, and the naughtiness of the heroine did not compensate for the naivete of the history. It was intéresting, buf not unexpected to notice. the reception given to this German’ production. Apparently, responsible members of the film trade had thought that audiences would riot at the mere suggestion of seeing a film from Germany. Of course they did nothing of the kind. They judged the film on its merits, and just because it came from an ex-enemy country their applause was a little excessive. The other production, the English film, ‘‘ Flames of Passion,’’ the Graham-Wilcox production, was dis“appointing, probably because so much had been expected. Mr. Graham Cutts’s previous film, ‘‘ The Wonderful Story,’’ was so good that one was led to hope a little too much. His first film was a great film. His second merely a ‘‘ super’ film. _** Presentation ”’ Falls Fiat. Various other “‘ super” films blossomed at theatres in the West End. The cult of D. W. Griffith was very noticeable, and it was pleasant to see some of his old masterpieces again. ‘* Broken Blossoms,’’ ‘‘ The Birth of a Nation, gs ‘‘Intolerance,’”’ and ‘‘ Way Down East ’’ were all shown during the year, and each in turn was described by its enthusiastic ‘‘ publicity manager ’’ as ‘‘D. W. Griffiths best film.’? It was all rather difficult, but then it certainly is difficult to judge between them. To me the last was always the best. Film first nights . became quite common, and those implicated took ‘‘ calls ”’ in front of the curtain “‘ like real actors.’’ This d not destroy the illusion half so admirably as the method of ‘‘ presentation ’’ which has been adopted. Presenta . tion means creating the atmosphere of the film by means of another medium. It usually took the form of (Continued on page x of this Supplement.) id a