The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1914-12-02
American Films No7C
Superior to the
Best European
Product.

The keenest critics of the film are
now admitting that the big Ameri-
can productions are Today the equal
OF any European screen play that
has been shown here from every
point OF view. This is the highest
praise that has ever been bestowed
on the American product For sew
eral years the American films of
the better type showed better act
ing. but very few OF them were
scen:cany or technically as good as
the European output. The directors
across the Atlantic seemed to have
something in their hlm that the
Americans could not get. The con-
slant complaint among the exhio-
itOrs that the American producers
could not present their stories in
the way the Europeans We're Going
led to more careful work here. and
the result is that today America is
really ahead of Europe in this re-
spect.
The fact that American film is now
of the best quality in every respect
is evidenced by an editorial in a
recent number OF the Dramatic
Mirror, which has heretofore been
forced to give the French and ItaI-
ian product the best of its reviews.
The Mirror states:
European Tim productions that
were otherwise OF ordinary merit
have long been granted bountecus
praise solely because OF the dazzling
brIlliance of the scenery in which
the characters moved. We have
watched the eternal triangle unfold
itself in the eternal way. times with
out number, and enjoyed il, merely
on account of the beauties of ma
ture that the foreign camera men
have paraded before Us. We had al
most reached the point of granting
without question European suprcm-
acy in this regard.
What q welcome surprise, there
fore, when one week brought three
4 meriCan-made features as rich in
beauty, of scenic background as the
best that Europe has yet given US
1t is. perhaps, more than a coinci-
dence that the space Of seven days
should bring to the screen such a
trio as 'Salomy Jane The Little
Angel of Canyon Creek and The
BARGAIN 1t would seem that the
producers of the West had, with
one accord. opened their eyes to the
wealth that lay about them The
Golden West was always with US.
and II has been shown to advantage
on the screen with frequency in the
last. especially in the productions of
Thomas InCe. but IL cannot be denied
that the producers seemed to be
largGy neglecting the opportunity
that tay within their grasp. Snatches
Of beauty were present here and
kere. but too often it seemed as
Wrought they entered the story in
spite Of the director: far more often
II appeared as though the director
had sought the location within easiest
access Of the studio
There can be no doubt concerning
the appeal of attractive settings in
deciding the fate of A screen produc-
ton While each OF the three pic
lures mentioned above are in the
story and acting alone. standard
feature attractions. the contribution
OF nature and \ director VINO appre-
ciates her gifts has strengthened
them immeasura bly,. And, if lhe
backgrounds play such an important
role in the success. Of a feature pro-
ducticn. where the story is usually
o. considerable weight and tie act
ing the result of thought and de-
liberation. how far more valuable to
the average one and two reel story
would careful selection Of settings
prove. Where the majoritT of stories
are in a dead rut Of mediocritv and
samencSs. where the acting and di-
roction are clearly the result Of
producing by the time clock" why
not give the camera a chance to
bring the production into favor 10y
turning its lens to spots that would
delight the eye of the audience while
u mentality was bored? The au-
his style and gain a niche IN the
literarv Hall OF Fame as a brilliant
writer. The surroundings in which
screen characters move are the style
Of the screen artist. II the worst
possible condemnation is the word
average" then here is a means at
hand 20 lift average films from the
rlIt"