The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-17

painting her with lilies in her arms,
the Madonna quality of the pose at
once suggesting to the audience, 'Ah,
he thinks her like his sister in her
childlike ignorance of men, It sug-
gested to me the degree to which the
p%hotoplay may use the symbolism Of
painters.
another use Of symbolism In this
same play was to throw across the
whole screen "a great web at the cen-
tire of which you gradually made out
the face OF the %hypnotist, Srcnydii, his
eyes searching for prey.
II am not, however. inc sympathy
with the director who says nothing
must be left to the Imagination" he
FASTENED to add. ITO a certain extent
that is necessary and practical, but
from the point of view of art that Is a
thoroughly malicious doctrine. Con-
trast such a standard with the value
of fairy tales and pays. tor instance.
but we are not at outs with the di-
rector. We will always be practical,
eve commercial, if his production is
formed with idealism and if the author
is given a little more opportunity 10
reach the audience directly with his
creation intact.
TINS is the heyday OF the actor in
the movies. Next in glory comes the
director. Who does not know the
Griffith films? The author is stlil
away off somewhere in the back
ground. Every one at home talks
about the actress. But ! think the
time is coming when people will rccoS-
nize movies as characteristic of au.
thors instead # discussing them in
terms of Mary Pickford.
This il coming when invention
makes possible the possession of ma
chimes and films in the average home
just as We now have monographs and
victrolas. This possibility of perma-
hence is bound to make for excellence.
1t must inevitably raise the
of the movies. Al present there Is no
such incentive fUr the photoplaN-
wright. He knows that at most the
film presenting his play VIII not run
I for more than sin months and then lie
! on the shelf. The dramatist. on the
other hand. takes great pains with MS
/ PLAYS because he KIN vs. they will last.
SO To the photoplaN wright, concluded
d.. %l'rceburg, "thc knowledge that his
( plays will have their place along with
hooks and pictures. statues and music.
al the worlds trea~ ureS. will make his
creations live atoms with Homer,
Dante and Michael Angel, Beethoven
and all the vanished but still LIVING
masters.
\ Ion. interview and enthusiastic.
Dnc', fan'y va. caught M IN the
sweep of Tn. young dramatist's cnthu-
/ .t.., .,4.,tStaJ II with tho cas-
sandralikc prophecies about thc movies
that ! had head from other play
/ wrishts. They bcwail the closing Of
the playhouses and 4 cir rcopon!ng -
motion picture places. They see u,
degenerating 20 the "brcad and cir
,u.es" of Roman days. ReNioWiE,
their bitter and cos:emp;uons speecucs
suddenly asked myseie. ANA what
docs G. - SHAW. the greatest modern
playwright Of them all. have 80 say
4 about jhc movies" knaV that some
where had :.cn ne name he1cath 4
pronoun -cmcn on moving pictures. ]
found his comment. ana what a con-
trast in its hopefulnoss and huoyancy.
lie rejoices that some pays are WORD.
less and delights IN the swift flow ut
scenery before the ">c. the ga.lopins
over w~indswcpt hills. and III" rush II
great cng'uca through milc- of peril
uua moj,rtaiuS. The movie. IN his cs-
timation, demands 10 special ld''lt,
and ALSO libevat"s ..fts hat have h"cn
fettered,
He writes: 'rp. Interest lies in The
new openinL f., tine mass ot dramatic
talent formerly disabled 10y Incidental
deficiencies ri one sort I'll anoiher tina,