The Washington times., 1915-10-12
THE BEST
Photopldy Department in
WASHINGTON
Film Is a Universal
Conveyor Of Ideas
in Opinion Of
Fairbanks .

Have the motion pictures out
+Aripped the efforts OF the csper-
antists and others who are trying
70 formulate universal Ian
SuaEe?
Inc motion picture appears to he
Ahe international medium Of con-
Seying an idea at the present time,
lnd there IL every reason 10 be-
lieve that this feature IS to DE de-
veloped IN the years to come. Al
ready the limitations of language
amount TO nothing in the making
oi pictures washington recently!
opera. "The Jewels of the Madon-
ma, mrD OF Italians VINO could
not understand a word of English,
working intelligently. and with
thorough understanding for the
audiences. In scene with
little English and no Italian. and
an Irish director, who speaks
nothing but English.
In another picture made some
time Time. ago: starring a woll,known
leading parts Were played by
Frcnchman. who could not posi-
bly, appear on tfe American stage
because OF his lingual limitations.
and Russian. who speaks prac-
tically no English. Yet each play
Ell hts part well. and thoroughly
audience the idea OF the play
wright. In the heart OF China and
the most out OF the way places OF
india the American cowboy films
and the Keystone comedies are
Just as easily. comprehended as
they arc in this country.
The film tells the story or presents
an Idea, therefore. just as inteili-
gently to the Hindoo Or the Chinese
as 1t does to the native of the coun-
try IN which the picture is made.
ana thus. without the laborious work
OF translation. literary and dramatic
works are offered a circulation by
means OF the motion picture screen
that would be impracticable by any
other means. Douglas Fairbanks.
the young actor who has made such
big hit on the stage In light COM
edy roles during the past few sea-
sons, and who has now gone into
motion pictures with the Triangle
Film Corporation. is most enthu-
siastic about this feature of the film.
Lines In the dramatic produce
ton Fairbanks declares. ARE. after
all. merely commentary by the play
ers in the screen upon the situation.
except at moment OF great dra-
matte stress. They express merely
what the actors are acting upon the
SidSt NJ given moment, so In0
lines can be dispensed with easily.
Even at a critical moment the sit
uation is generally better IL the
lines are left out. 1t Is much strong
er for an actor to act out n demand
that another man leave the room
for instance-than merely to state It:
Now for the new language Of
the moving picture drama. There Is
man sitting over there at a table
with group Of men. He Is angry,
His face. his manner. his whole per-
sonality express 1t. He is disap-
pointed. This is mirrored to me
standing over here. He is dlsgusted.
is true.
Now II II Is possible to read the
situation of a man across the room.
II Is equally possible to act before
camera all the great emotions and
even to act a definite situation with
out the use Of lines or subtitles. This
Is what 7 mean by the coming lang
uage OF the moving pictures.
'Gradually audiences will become
accustomed to concentrate upon the
acting. They will thus become ed
ucated In the newer language as
rapidly as it develops.
When this language Is perfected
II Will be easy to express any emo
ton upon the screen without the aid
'''''' N''S' "i' u W III i've very
, flexible language also. Each player
VIII have e. different manner OF ex-
pressing given emotion or situation.
Thus the newer language will he
kept from becoming conventional or
formal. and will ALWAYS possess va
riety. When this time comes drec-
tors will order their players not to
speak lines and move their Inns and
Jaws as they do at present. think
that the present usage Is often rid
iculous.
Then when the newer language
has come into full use we shall see
greater and better motion pictures
for the art viii then havc attained
to very high development