Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-10-21

purpies and great. somber shadows. min.
Cling and shifting and pulslng with an the
brilliant hues such a scene would have in
real life, Later I went 70 the theater 10
see tne photoplay, But the charm had gone
u was good photography: yes. quite good
Hut Il missed all the nre and fury that
night In Los Angeles had. II was neutral
There, Il seems to me. lies the most
vital problem OF the director. And 70.
memoer. the director is absolutely the mas
ter OF things in. the movie world. lie
makes He sometimes mars But he Il
THE man who makes pictures nne ana
touching and bcautifui--or confused ana
cluttered and pallid. Now, the director Of
the future most solve this problem OF color.
II goes rigm down 20 the heart OF the
whole art SO far. must say don't think
much OF the attempts 70 make our pictures
other than gray or sepia or black and
white paintings In motion.
There Is something far more important.
IN considering color. than mere actual re-
production OF natural scenery. II IL the
pigment or the individual face For NOT hi,
we get genuine color-reproductlon can we
draw on most OF the real artists OF the
legitlmate stage. Some have zone bcfore
the lens and triumphed. Others haven'f
We IN mind one Casa case that sounds
mere, ,nc1eulole TO the layman Yet saw Il
Win my own eyes Elsie Ferguson. an
actress OF rare accomplishment. is admitted
70 70 nave one OF the most lovely Compilations
IN the theater.. II Is pure. even rrca ~
rne. rs ! saw them take test-picturc OF her.
,sne'oped. ,r,,n u made her out young woman
with rough and blotchy cp,dermis s,rh
are the tricks OF the camera.
But don't you see that wh.n -. 80.
spn,o.osraph p,Nsph In natural color all such marical
u.s.oruons ., viii disappear? We can re-
80 .S races exactly as they are in ilfe
anu ..,, tne store of actors. real actors IN
cre"sa, 'ne directors can draw win be in
eleeseu lmmeasurably. And perhnn. ~.
scope OF the movie actors can be wIdened
.,-esi ! see IL their scope is pretty vida
~ neeuy' with the exception OF cor,edv
an he,e you're restricted to Just two sorss'
hanss ssue ,,. serappy. racing. dashlng Fair
Snapiln eNceis--the kind where one sentis-
na" hIcks another in the seat OF the trors
urs, y, ana uses pie ike a discus. Mavhs
"a was that restriction that unconsclouslv
NV n'., 70 pug oit OF pathos into one OF
,uy % INNS. Here's the situation: Boy un-
ao,e 10 pay his rent pulls out trlnket ana
eAtenus II TO landlady. Here take n n
was given me by-my mother sDonaid
,ni.s !, W.. great said the director. But when
was printed II wasn't pathetic: tust n
horrible grimace. That shows vou s,ha
you've got TO do in repression when v,,,s,.s
used TO stage work 80 -
And speaking of scraps: was slated
Ior pI,,s light, light In one OF my llms. asked for
opponent He was TO hit me n glanr,,-
plow, but In error gave mo a terrible
wallop. IL made me sore and we went =,
II In earnest. 1t was bully battle. with
realism and gore. And dye know what
that director said afterward4 Wen have
to retake that
MY surprise at that time wasn't an ace
TO another experience l had, however
was Mt party in California, and a fello~
came up TO me and asked whether Il ~
membered him Weren't you a chorus M
| with me In ''Florodora" when I was Ia
luveniler asked Yes, was.' he reple8
Mack Sennett." BID Z