Five Mile Beach weekly journal., 1916-11-10

is in Paris instead of Movieville made
no difference to the management. The
tables of the cafe under the trees, the
broad avenue leading up to the pres
ent site of the Arc de Triomphe, were
all before the camera, and so well re-
produced were they that one familiar
with Paris would scarcely believe that
the photograph had not been taken
from the original. Beyond was the
Place de Ia Revolution, today the Place
de la Concorde, and instead of the
fountain now standing in its center
was the guillotine.
The life of the picture and at the
same time a contrast with the instru-
ment of death were the gay companies
dining within and without the cafe.
The men wore the cooked hat. the
rufled shirt bosom, the long double
breasted waistcoat, the high coat col
lar and the tight trousers in vogue at
the end of the eighteenth century. The
women wore the short waist dresses
and poke bonnets. The revolution had
either guillotined or drawn into exile
most of the refined women of France
and brought into prominence those
whom we would now call fast if not
abandoned. Such We're the persons
eating and drinking at the tables on
the Champs Elysees in sight of the
machine that was every day Kidding
France of its aristocrats.
Within this effective scene was a
more minute one-the group about
Marat. 18th Charlotte Corday at q
ne%ighboring table. Both the face Of
Marat and that of Charlotte were a
study, the former unconscious that the
girl he admired was to kill him, the
efforts of Nine. Du Four to hold his
attention, which kept wandering away
to Charlotte; the latter aware of her
advantage in his admiration, trusting
to it to give her access to his presence
when ready to strike the fatal blow.
The author of charlotte Corday,"
the picture play. introduced n scene
that rendered all this thrilling. Amid
the gayety about the tables, reckless
men and brazen women talking. loung-
ing, drinking, Marat and Charlotte the
CClIldl nSulCo3 bASlC Ii a NOhiAhOtAOh
about the g%uillotine. A beautiful WON
an is strapped to it, the ak falls, and
by one of those quick transitions COM
mon in moving pictures her head ap-
pears to roll into the basket.
Such is an imperfect word descrip-
ton of one of the most notable scenes
ever attempted to be placed on the
screen. The company chosen to enact
it before the camera were gathered and
taking their positions. Marat was be
ing posed; Charlotte was seating her
self; men and women were arranging
themselves In groups. Then, when all
was ready, the signal was given ana
the company, consisting of hundreds of
persons, was under fire of the camera.
The pantomime had continued for
some time when the Photographic di-
rector called a halt. bsing to Marat,
he led him apart from the others and
whispered something in his ear. While
he was doing SO Marat cast a fright
ened glance at Charlotte. The nan
ager went back to his position of OBJ
s~ervation, and the photographing re-
commenced. The chat, the laugh, the
the conviviality went on, each actor or
actress intent on his or her part, for
in a picture play everything counts;
there is no deadwood.
When the scene of the execution
came the only attention paid to it, eX-
cept on the part of Charlotte, was that
a number of persons raised their
glasses. and the pantomime indicated
that they were drinking to one more
a%ristocrat put out of the way. As for
Charlotte, a close observer would have
seen a deep purpose in her eye. AS
the head of the %guillotine's victim fell
into the basket she rose, ran like a
flash to the table occupied by Marat,
at the same time drawing a dagger
from underneath the kerchief crossing
her breast and plunged it into his heart.
An indescribable confusion followed.
The buzzing of the machinery moving
the film ceased. Every n ran to
Marat, the men standing, the women
screaming, for all knew that this was
not the assassination scene, and it was
believed that he had been really
struck down. He never spoke again.
AS to Charlotte, she withdrew a lit
tie from the group about the man she
had killed and stood trembling. Then
for the first time it was noticed that
there was a wild look in her eye. She
was led away, and none of the com
pany ever saw her again.
The picture play of Charlotte Cor
day was never put ON the screen for
the public. The films were run
through before the management, and
the murder scene was pronounced a
wonder. But there was so much objec-
ton to it on the part of Miss Stanley's
relatives and Others that the films
were destroyed.
Nevertheless it has been whispered
that the films comprising this scene of
an actual tragedy We're not given Owe
70 dactr11otion IF &c claimod fbot pri