The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1917-11-30
THE TOPEKA STATE JOURNAL
INFORMATEON BUREAU
BY FREDERIC j. HAsKIN, Director,
Washington, d. c.

I BY FREDERIC j. HASKIN, Director, s
Washington. d. C.
H~~~~~->~---~- ---~~------~--~-----~~---
LITERATURE OF THE MOVIES.
Washington. D. c.. Nov. 27;-"Do
American author was asked not long
ago. ''Never!" replied he, emphati-
cally a might see a screen version
of one of my books"
This illustrates the way many au-
thors now feel about the picturizing
of their novels. 1t seems that in the
offices of the moving picture compa-
MES extraordinary liberties are taken
with the original manuscript. A
character is cut out here; another Is
inserted there; broad and sweeping
changes are made in the plot and
time-worn, but successful comedy
tricks inserted.
If the ending is not happy"
new ending is Immediately construct
ed for il. Then the director and the
stars are called in for a consulta-
ton. Perhaps an actor is known for
his athletic stunts, his ability to look
comfortable in a dress suit, his artis-
lie love making or his million dollar
grin. The text must be changed so
that he can use his special talent. Or
smile, her evening costumes, her CO.
quettish gestures or her floods of
tears. More changes. Then there is
the director who believes that there
is nothing like introducing a domestic
animal to get a good effect. Cannot
the scenario writer change a couple
of scenes so that the companys new
COW may be exhibited in the back
ground?
Liberties In Changes.
Again, there is the scene with the
Indian. That is all wrong. The
scenario writer knows that all In
dams should wear a headdress and
a loincloth and carry blanket No
audience would recognize an Indian
fully clothed in doeskin. So it goes
on until the finished picture bears
about as much resemblance to the
original manuscript as alice in
Wonderland" bears to Uncle Toms
Cabin.
Since such procedure is common,
due credit must be given to those
companies which do strive to keep
intact the general plot and atmos-
phere of the original story. There
are such companies, of course. In
picturizing one of Bret Harte's stories,
one moving picture company even
went so far as to construct a whole
street of a mining town in exact ac-.
cordance with the authors description.
The postoffice, the saloon. the habi-
tats of the various characters were
all there as Bret Harte depicted
them. And, altho the story was fol-
lowed with painstaking detail, it was
a great success with the public
which shows that the additions of
the scenario writer are not always
necessary.
Remarkable Movie Surgery.
Other instances might be quoted to
prove that the moving picture indus
try is not wholly lacking in artistic
consciousness. Alfred Henry Lewis's
stories, for example, have been pro-
duced without any weird excrescences,
and there are doubtless many others
who have not suffered greatly by the
transfer to scenario form. But fancy
the perturbation of the late Victor
Hugo If that great author had lived
to see his Hunchback of Notre Dame
cured by an operation in the movies
and married to a beautiful brand
new heroine of the scenario writer's
own creation. Yet that is what hap
pened to the "Hunchback of Notre
Dame in the scenario room.
AS a batter of fact, the scenario
writer is not to blame. 1t is the mad
hurry and overproduction of the NOV
ing picture business which counte-
nance such atrocities. The scenario
writer is long suffering individual
himself, bearing a much greater bur-
den than either his qualifications or
his salary entitled him to bear. Three
years ago, he was earning $25 a week,
and was supposed to turn out a COM
plete scenario every seven days. Now
he is paid from 800 to $3.50 a week,
and the rate of production remains
the same. Only a little while ago, d
short story writer in New York was
offered the latter salary to put into
scenario form one famous novel a
week.
Putting 1t Into Form.
Under these circumstances. the
scenario writer is paid very little in
proportion to the total cost of a pic
ture for which, under present condi-
tions, he is most responsible. This is
usually what happens: The author
or the playwright, is paid about one
thousand dollars for the picture rights
to his novel or play, with 10 per cert
royalties on all receipts. The NOV
ing picture company now secures the
necessary actors at fabulous salaries;
thousands of dollars are spent in pro-
ducing scenery for it; then the manu-
script is turned over to a hack
scenario writer. who is pounding out
scenarios of famous novels by the
week. This man puts it into what he
calls picture form"
When he has finished with it, the
scenario is handed to one of the four
or five directors on the companys
staff. From hen on the responsible
ity of the scenario man ends, unless
the manuscript should be sent back
for important changes in the plot. 1t
is now the directors turn. A moying
picture director is one of the great
est autocrats in our industrial life.
What he says goes. 1t is for him to
interpret that novel or play exactly
as he pleases, always with half of his
mind on the number of feet of film
to be allowed for~each scene and the
commercial advantages following con-
ventional registers
The Hero and the Heroine.
Certain things, having been tried
out and found successful with the
public, have now been incorporated
into the movie technique and must