The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1916-04-24
Theatrical Magnate Gives Voice
+. to. a Few Frank Though
Admitting Criticisms.
BELIEVES IN ART OF FILM
But Thinks Its Future Is Much
Bigger Than the Men Making
Its Present.

Motion pictures are n distinct
art. They arc here to stay"
Tho gentleman who made use OF
those two phrases tho last tire
they havo been repeated 80 often
that almost anyone who Is old
enough can claim &c have invented
them lis the same man who less than
two years ago inserted In His cen
tracts with actors and actresses for
stage productoifs clause prohibit
ing them from appearing IN motion
pictures.
Marc KIaw. partner OF Abraham
Erlanger In what Is probably the
most important theatrical firm In
this country. has become converted
TO motion pictures. But, proving the
reason for his having been for so
long at the head OF the list Of the
ater managers and producers. he be-
lieves IN the future OF melton pic
lures and has very little respect for
the present.
This means that the big vision and
broad mlndedness that have made
Mr.. KIaw one OF the greatest fac
tors In the amusement world. have
been brought to bear on the photo
pley and he sees what II can be tle-
veloped into from the things that
have been done with II.
Should Not Copy Stage.
In n. recent issue OF the Moving
Picture World Mr.. Klaw makes some
very interesting comment on motion
pictures and uttcrs spme construc-
tive criticism that will interest every
motion picture patron in Washing
ton He says:
Motion pictures are a distinct art.
They should not copy the speaking
drama, but should set out to find a
sphere of their own-educational.
travel. They should be silent story
tcllers rather than silent dramatists.
The appeal OF the motion pictures IL
TO the eye! and the eye tires quickly.
''The motion picture producers
have recognized and admitted that
silent drama Is impracticable by pro-
Niding musical accompaniment for
their screen offerings. without the
aid OF music, a Aim drama is the
--LATEST thing imaginable-abso
dead. In our own branch OF the
n,ands more than q beautiful picture.
I'VE may spend thousands Of dol
lars upon an exquisite setting, ana
10 II holds the audience for forty
seconds we are lucky. After that
- they mentally ask. Well. well. what
next? Show us something.
Mistakes Have Taught Nothing.
unfortunately FOR them. the mo-
ton picture producers have not
profited by the mistakes OF the
drama. Instead OF avoiding them.
they have copied their their weak
nesses. They let the public know too
much. The strength OF the drama
lies In its illusion. When the illusion
is destroyed, you destroy the drama,
and the motion picture people are
ritllessly destroying illusion by their
II suppose / shall be roasted for
saying so. but ] think the producers
are wrong In charging admission TO
their studios and allowing the gem
'ersl public to mingle with their
actors In makeup.
Where is the illusion after a visit
to the studios? On the same lot
scenes In Egypt. England. Russia.
anywhere, are being photographed.
They see the counterfeit settings
massive and impressive where the
eye of the camera sees them-cheap.
fragile, dream-dispelling everywhere
. else. Mr.. Public goes away skep-
tical. lie does not believe IN any
thing any more.
You may show an Egyptian picture
with every scene actually photo
graphed In Egypt. but after one visit
to the studio. Mr.. Wise Layman
laughs at your protestations. He
knows they were taken In Los An
geles In somebody else's back yard.
They should stop salary taking. II
hurts the business and disgusts the
public. should be interested to see
the Government income tax reports