Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-10-28
ALA Nazimova
For Photoplay,
But Not Movies
Star of Brenon War
Brides" Praises In
tensity of Screen

fThe yofIo,otno defense Of motion pictures
u from an tntervietc ,cifh Ala Norimopo,
,oho held out against them for long time,
finally Otvtno in 20 the pcrsuosion Of Her.
bert Brenon, pho tciu present the Russi0n
star IN fln version Of fewar BrtdcsS Mr..
Brenon also directed the WILTON Fos spec
fdcie, "a Daughter Of the Gods" rose az the
Chestnut Street opera Housed
IL used to be that when a player 70 far
forgot the dignity of the theatrical pro-
fession as TO appear In motion picture,
friends would gather In little groups ana
speak Of the Incident in hushed tones and
with grave expressions. You almost ex-
pected them to send wrcaths OF immor-
telles to the dear departed. II wasn't
done" IL was as terrible q faux pas ~
wearing satin slippers with a riding habit
Those daring pioneers were almost ostra-
cized from respectable theatrical society.
and when their financial success was evi-
denced by the possession OF hne homes and
automobiles. these gains were looked upon
by the superior '1egItimates" as badges Of
their shame and downfall II was under
stood that no one would 'go into the NOV
les" except 20 make money
Nor could one blame the lofty critics
Of those days for their attitude. Intrinsi-
cally the pictures produced then were not
artistic. The plots we're crude. the
photography mediocre and giaring incon-
slstences appeared constantly. The sincere
artist could not but shudder at the thought
of being seen in such productions But
whose was the fault7 The men and women
who were doing their best to evolve q new
art with what material they could obtain
or the more talented ones who refused TO
lend their aid7 Personally do not feel
that there is any blame to be attached TO
either The world OF art. ike the worid
| OF commerce, develops In all directions be-
cause of the diversity Of individual am
| bltion and taste.
Here. then, is substantial proof OF the
vitality of this new art--that In addition TO
all the other difficalties which anything new
must encounter II has had TO face and over
come not mere apathy, but distrust from
those who should have been most sym
pathetic and helpful. even II they felt nc
| desire TO Join In the movement toward
| creating a new medium OF expression. Be
meath this opposition. possibly. there was .
| touch of antagonism. not unmixed will
| vague fear, that here was new ant
dangerous competitor, overbidding th'
spoken drama in salaries, undertaking u II
| output and imperiing Its standards. The,
| may have felt that the playgoing public
witnessing these cheap and trashy enter
! tainmentS. would become satinned VIII
something less than the stage itself coul'
give and no longer be willing to play. a
in the past for the best plays offered b,
the greatest players and producers. Tha
fear has been destroyed by the history o
the last few years Good plays are In .
great demand ever.
Those pioneer days are now past TIL
is proved, not in the great mass OF movin
pictures we see. but In the flashes Of g
MUS which show what can be done whe
true artists devote themselves sincerely
creative work. on the speaking stage ther
have always been more bad plays tina
good ones but no one ever argued from thi
| that the drama was a failure. We mus
always Judge an art by It's best examples
| not by its worst. nor even Its second bes
Each art must represent distinctiv
form of expression. Sculpture speak
through form. painting by form and colol
music In sound poetry In rhythmic word
but what is the essential thing which IN
moving picture does which cannot be don
as well or better by the dramaf MY an
swer would be- intensity. The photo dram
eliminates from the story everything bu
the fundamental There is no Dialogue
except for brief explanatory sentences
Nothing Is told but the essential part Q
the story, and SO the photo drama ha
found its forte In EMPHASIS.