Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-08-05
Our Own Ethel
Tells Secrets
of the Movies
Miss Barrymore Discuss
es Magic and Wonder
of the Screen
BIZ ETHEL BARRYMoRE

| My entering the lists In Dehalf OF the
screen perhaps comes as surprise to
those who have always associated me
solely with the speaking stage. and who
remember my traditions and early training.
But when a new comet bazes across the
sky, no one can be blamed for turning
! to look and admire.
AT first had no idea that I was really
| going to like motion pictures. But they
represented a new development of which
felt had no right to remain in Ignorance.
I pride myself on keeping free from preju-
dice and came into the screen world with
an open mind. found II a delightful
region where new interests were unfolded
at every step.
The stage and the screen are sister arts
Each has charm of its own. but 1 some
tunes feal that TIE hast eBautiaa OF ths
younger sister are unappreciated By rcss1z
Of her very youth.
To me, the most valuable asset OF the
motion picture is the feeling of good fell
lowship Il engenders. It unihes the spec
tator with itself. 1t takes him into its con-
fldence II has no secrets from him. There
is no middleman between the picture and
the vlsualist.
There are some who think that the
screens greatest advantage over the stage
is its realism. hope 1 shall topple no
ones idols over when I say that consider
this item negligible. Art should be a stirnu-
lus to the imagination. The exact repro
duction of reality is nothing but another
reality. Something should always remain
unsaid in order to pique the interest--to
induce n man to say the final word himself.
Indeed, It is my contention that the screen,
for the reason that II does not intrude in
dividuals too much upon the spectator. Is
n greater stimulus to the imagination than
the stage.
The player Is there-yet he is not there.
The situation contains something of the
magical. To this anomaly of a favorites
being visible presence. yet an intangible
one, plain to view, yet ever aloof. attri-
butte the almost romantic interest OF the
public in its motion-picture stars. Imagtna-
tion is the very breath of life to the motion
picture.
A motion-picture player is never seen for
such long period as a stage star. His best
moments can be chosen and wise director
will not permit him to exhibit his less happy
phases. The spectators do not tire of him.
There is always an added fillip OF interest,
because the appearance of favorite never
lasts long enough to satisfy an ardent ad-
mirer.
Yet the audience mas never Detl Oh buCh
intimate relations with the actor as the
spectators are with the screen favoritea.
by reason Of the Nlusion of proximity. TIE
Closeup has banished the opera glass.
So plainly are the most subtle expressions
of emotion recorded, the most powerful de-
lineations of love and hate. sorrow and
rejoicing, that each motion-pIcture house.
no matter how spacious, becomes Verita-
BILE Little Theatre.
Why should amusement places be limited
rhAW0 In
innate representations can be shared with
an audience of 5000?
On the stage. the fall of curtain three
or four times during the progress OF
play acts as a damper upon even the most
partisan audience. 1t is like slap in the
face-a gratuitous affront offered to
friend. No matter how well the interest
has been worked up, to how keen point
Il has IN developed, there is tagging
of interest, an interruption of attention,
when that heavy curtain comes numbering
down.
Immediately there is a hum OF conversa-
ton on all subjects imaginable. totally ir-
relevant to the theme OF the play, and per-
haps a blare of music that sets the minds OF
those present to rag-time measures nulli-
flying in part at least, the most earnest ef-
forts of the actors. The fact is. play Is
an idea chopped into three or four pieces
A photoplay. on the other hand. is q
unity. Made up OF many parts welded to-
gether, It is still one. 1t weaves a perfect
fabric of dreams.
The screen surpasses the stage in con-
tindity OF scene. If the stage constable
says he is going down TO the county jail, we
know he does no such thing. We see him
walk into the wings and perhaps enter
into an alteration with a man in shirt
sleeves behind the scenes. But the pictures
convince us. because we follow the action
The screen supplies wealth OF detail at
a glance. On the stage. circumstances at
tendant upon the main Incidents have to be
told laboriously, and canot help retarding
the action. On the film. one glance suffices
to make the spectator cognizant OF all the
and important adjuncts TO an
episode. He is at once en- rapport with tbs
scene.
Most motion picture representations are
on a scale that can be no more
than remotely suggested on the stage. OPP
portunities for education are given freely
to patron OF first-rate picture theatre.
An African jungle. a mountain pass. the
Intimate details of the home OF a multi.
millionaire are shown with fidelity on the
screen. broadening the experience and en-
riching the lives OF many who might never
have the chance 70 view these things. -
l suppose the value OF motion picturezf to
those who have not the means TO traVsX or
who are prevented by other reaso1hs Is
quite incaleulable.