New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-06-07

, Aside from skill. which is the first es-
sential. two of the most important fac-
tors in preparing spectacular scenes Tor
the motion picture screen are time and
money. American manufacturers are
often willing enough TO spend the latter,
but are almost invariably reluctant TO
spend the former in sufficient quantity.
II is this fact that is largely responsible
for the complete superiority OF European
feature films over those made in this
country. The American manufacturer Is
always in a hurry. He has no sooner de-
cided to put on story than he begins to
figure the minimum possible time in
which il can be pr ,d iced. and always es-
Inmates il very improperly His principle
seems to be that the more pictures he can
turn out the more money ne will make. in
spite OF the fact that the really great
money makers have all been produced by
the leisurely methods OF the foreign stu
dos.
comparison OF foreign and domestic
methods in similar scenes is afforded by
the parts OF Judith of Bethulia' and
"Cab!ris," which depict the siege Of an
ancient city. The first OF these pictures
was universally conceded 10 be the best
yet produced in this country. when first
seen few weeks ago, and II is doubtful
If it has been equGled since. "Cdbiria,
OF course. is OF Italian manufacture. In
the scenes mentioned the directors we're
handling almost identical situations. but
in spite OF the great excellence Of the
California finn it is tar from equalling the
foreign picture.
To obtain the desired effect both pro-
ducers constructed a wall to represent
that Of the besieged city. Building special
scenery Of such nature is rather
elaborate undertaking, but IL VAS done
equally we'll in both cases When IT came
to utilizing il, however, the directors OF
"Cabiria" obtained much better effects.
Apparently the principal reason for this
was that they had all the time they
wanted. For example, number of most
excellent views show the attacking army
trying to scale the wall by means OF lad
defs Man after man is pushed or hurled
from the top and pitches into space. In
order TO get this effect IL was necessary
TO arrange a set OF nets in such way
that they would catch the actors but
would not show in the picture or in any
way spoil the effect To arrange this and
take the scenes on the top OF the wall
alone meant many days OF work. and all
for very short portion OF the film. II is
lnconcevable that a director as capable
as ID. W. Griffith, who made Judith.
should have failed to consider this same
plan. but he turned out his entire picture
I'm little more time thar this set of pict-
ures alone required in the Italian produc-
ton, henc' the difference.
one method of obtaining unusual scene.
is a trick. and in this. too, the foreign
makers excel often turning out films the
authenticity Of which no one but an eA-
peIt would question Such effects are Cd
tanned by using models. I'm any scene
i'm which il is not necessary 10 introduce
people remarkable realism can be obtained
i'm this way. We have seen a number or
such showing steamers supposedly burning
IT sea. As the model vessel was alloat on
a tank i'm A studio. where any desired light
effect could be obtained, and as II was
actually destroyed, a better result was
obtained than would have been the case
with real steamer and batch Of smoke
pots.
Train wrecks are also faxed in this way
on some occasions, although the result Is