American Cinematographer - January 15, 1922 - 14

THE AMERlCAN

CINEMATOGRAPHER

January 15, 1922

Certainly they are away ahead of any American production in some things; just as they are away behind in

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others. The photography of America and Europe is
not to be compared. We have all the best of it, unless
you exclude the bizarre effects of "Dr. Caligari." When
it comes

to real

momentousness

of subject,

such

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films

as "Passion," "Deception," and even "Theodora" outrun
us by far.

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But how many films have we seen?
A mere handful.
And probably modern themes of foreign origin wouldn't

have the least appeal to our audiences. There isn't the
least doubt, of course, that in this historic thrill "Passian" and "Deception" were two of the greatest films
shown during- the year.
If we reckon quality alone
"Deception" was the better picture. But "Passion" had
stronger drama and action, and a bigger personality in
Pola Negri. Therefore, its popularity.
"Deception" was a remarkable study in history. That
its story was true to the facts might well be questioned.
But that it gave kings and queens a character that was
perfectly comprehensible to the public mind could not be
doubted. Its artistocracy was thoroughly human. The
same was true in a measure of "Passion," which as a
picture had more human interest in its story.
"Caligari" and "The Colem" were freaks for the
public, but of the greatest source of interest for the artist
and the film-maker. They were remarkable in their way,
although esthetically defective. "The Colem" was a
more even piece of work than· "Caligari" but not as
potential. "Theodora" had one thing to recommend it,
its settings. For the rest we could have backed them off
the map.

The bugaboo of the foreign films is more or less just
plain bugaboo. What comes over here that's worth
while will be stimulating. But the leadership will rest
with Hollywood again sooner or later.

The 'Title Nuisance
So much confusion has arisen among the studios, newspapers,
magazines, theaters, exchanges and in the motion picture world
generally by the idiotic custom of filming a story under one title
and releasing it under another that the new plan of fixing the
title before production begins has met with the most enthusiastic
commendation.
All the confusion about titles of new productions grew out of
the old idea that pictures had to be retitled when they got to New
York, the reason given being that the producers weren't smart
enough to title their own productions, but must depend on, the
superior New York brains to nail sensational "selling" titles upon
them.
Now that the "selling" title has almost wished censorship on
the film industry there will probably be a return to reason and
the "working" and "selling" titles will give way to a fixed title
'tunder which the picture will be released.
The idea now is to agree upon the title by exchange of views
and once fixed to release the picture under that title.
The rainstorm around Los Angeles just before Christmas
caught Director Phil Rosen, A. S. C, and his Wallace Reid company out in the desert near Barstow and marooned them for two
days. Mr. Reid's current production is "Across the Continent"
and the company was getting road race scenes when the rains
came.

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ROCHESTER,

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Back to the Moyies
Crying "The play's the thing!" the Motion Picture Directors'
Association urges exhibitors to curtail prologues, vaudeville acts,
and expensive orchestras as "extravagant and unnecessary phases
of motion picture presentation."
The association comprises 135 of the best known directors in
the profession. Its action in the matter takes the form of a letter
to film trade journals signed by William D. Taylor, director-president.
"Today, in many instances, the theatrical entertainment overshadows the featured photodrama of the program," declared Mr.
Taylor, speaking for the motion picture directors. "This condition
is a serious menace to any further advances in motion picture production.
"In the opuuon of this association, whose members are dedicating their lives to the betterment of motion pictures, the overelaborate prologue is a useless adjunct to the feature picture,
often even destroying dramatic effect and turning the climax to
anti-climax: the place for vaudeville is in the vaudeville house, and
the greater portion of the picture-going public prefers its motion
picture comedy and drama 'straight'; and while the musical accompaniment is an invaluable part of picture presentation and is
working wonders in further musical culture in this country, expensive orchestras are unnecessary and often in poor taste."
Write it 1922 and resolve that it shall be the most successful
in your life.

AN-AK-RON-ISMS
Cleopatra had just permitted the asp to bite her.
"They may fake this in the movies sometimes," she said wistfully to Charmian, "but they will never get anybody to do the
real thing. Too bad one of those A. S. C. boys couldn't have
been here with a camera."
Jonah had just been swallowed by the whale.
"Can't say I'm crazy about this," he remarked aloud as he
rolled around in the Stygian gloom of the big fish's inwards, "but
this sure would make a peach of a darkroom for a cameraman
shooting marine stuff."

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American Cinematographer - January 15, 1922

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