The Press., 1916-09-28
Charlotte
 Corday How an Attempted Picture Play Was Spoiled
By F. A. MITCHELL

t By r. A. MITCHELL | ++.s+s.+&s.ss.s.s4s.s.s%s+ss$%+s@
 Movieville is situated in a region where the sun shines oftener than any where else in America and where the surrounding scenery is more varied and beautiful. This city, devoted to the work of producing picture plays, looks out upon mountains on the one CT. The latter is partly wooded, part ly cultivated, and river runs through it, connecting several lakes.
 Nov leville itself is a very singular city, containing a singular population. There is every variety of dwelling in it from an Indian tepee to a Chinese palace, every variety of fertilization from a Roman oppidum (walled inclo- sure) to a modern bastton. If there is anything required that Movieville does not contain it is improvised. A scenario, one scene of which was laid in the United States senate chamber, having been chosen for production the senate chamber was constructed not of stone. but of stucco, canvas and other such like materials.
 One of the famous speaking plays of it's day was Charlotte Corday." The scene was laid in Paris at the time of the French revolution and involved the assassina tion of the leader of the reign of terror, Marat. The woman who played the part of Charlotte was considered a wonder. During her per formances she seemed to be the person whose part she was enacting. The play had very long run, and every month during the time 1t was on the boards the leading lady, whose stage name was Marguerite Stanley, put more intensity into her part until her audiences were often thrown into a cold shiver.
 Charlotte Corday" was especially adapted for picture play, and Movie vile was considered as the best, real ly the only, place to make the photo graphs.
 John Esterbrooke, who took the part of Marat, though finished actor, did not produce the impression effected by Miss Stanley. While she became more and more tragic, he seemed to lose force. The real reason of his apparent deterioration was that so real was her impersonation of her character that he became afraid of her.
 There was another matter that infiu- enced MT. Esterbrooke. He thought he saw signs that the girl was in love with him. While on the stage she play ed Charlotte to his Marat. At other times she purred to him like kitten. He was fearful of this emotional com bination. He was not in love with her and could not divest himself of the feeling that if he did not respond to her preference a time might come when. while she was under the power full emotion induced by her part, she would make of it a real tragedy.
 Such were the conditions when it was decided to produce moving picture play of Charlotte Corday." Miss Stanley was on the same train with Esterbrooke. Another member of the company, Estelle Springer, who was supposed to be in love with him, was also of the party. Esterbrooke took q seat beside Miss Springer and remain ed there all the way to Movieville. During the ride Miss Stanley remain ed in her seat reading a novel, a trav- cling cap pulled down over her eyes When the journey was completed she left the car with the others smilingly, and if jealousy had been excited in her none of the party noticed it.
 Charlotte Corday' was to be a five reel play. Often many pictures were taken of single scene before the de- sired effect was produced on the films This was wearing on the performers. especially on Miss Stanley, whose emo tional part required so much intensity. and every time picture was made that intensity must be excited. This naturally called for periods of rest They were usually passed in automo- eilc rides over the beautiful country.
 By this time n rivalry appeared to have sprung up between the two as piraDts for MT. Esterbrookes favor. It was observed in Miss Springer, but not in Miss Stanley-that is, the lat ters feeling for him was only suppos- ed to exist by him. and he spoke of it to no one. On one or two occasions she asked him to ride with her. that she might talk over such changes i'll their behavior before the camera from what they had been used to on the stage as might be advisable. On their return from these rides Esterbrooke looked serious, but kept his own coun- sel as to tic cause. Actors are apt to have hearts thrown at them promis- cuously from young women in their audiences. and Esterbrooke was no ex- ception. He had found 1t advisable to pay no attention to such advances and never mentioned them to others.
 Historical plays do not adhere very closely to history. If they did it would be impossible to treat the theme dramatically. In the dramatization Of the story of Charlotte Corday. Marat meets, Charlotte at a cafe on the Champs Eysees and admires her. He has no speech with her, she sitting at another table alone. while he is dining with rarty which includes Miss Springer. who took the part of Mme Du Four. Marat's efforts to cast his admiring glances at the girl who is later on to assassinate him, without attracting the notice of those at his table, is one of the main features of this sGene.
 The fact that the Champs Elysees is in Paris instead of Moyieville made no difference to the management. The tables of the cafe under the trees, the broad avenue leading up to the p.es- 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 la 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-