The Lakeland evening telegram., 1917-02-10

the photograph had not uefh 'dA'n
,ro, tho original Beyond was Tie
Place dc Ia Revolution, today tie iat'
de Ia Coscor,ie. aud instead OF the
fountain now standing in IT'S teh'e'
was the guillotine.
The life of the picture and at the
same time a contrast With the lhNtlu
ment of death were the ray companies
dining within and without the raie'
The mon wore the cooked nat. tue
r,,f,ad shirt bosom. the long double
breasted waiStcoat, the high eoat coz
lar and the tight trousers IN vogue ~
the end of the eighteenth century Inc
women wore the short waist dresses
and poke bonnets. The revolution hai
either guillotined or drawn into eAie
most of the refined women OF France
and brought into prominence those
whom we would now call fast II het
abandoned Such were the persons
eating and drinking at the tables on
the Champs Eiysees in sight Of the
machine that was every day rlddlns
France Of its aristoerats.
Within this effective scene WIS II
more minute one-the group about
Marat. with Charlotte Gorday al a
nelshboring table. Both the face OF
Marat aud that Of Charlotte were
study, the former unconscious that the
girl he admired was to kill him. tile
efforts of Nine. Du -Four 10 hold his
attention. which kept wandering away
to Charlotte, the latter aware Of her
advantage In bis admiration. trusting
to It 10 give her access to his presence
when ready Ia strike the fatal blow
The author Of Charlotte Corday."
the picture play, introduced one scene
that rendered all this thrilling Amid
the gayety about the tables, reckless
men and brazen women talking, louns-
ing, drinking. Marat and Charlotte the
central figures, there is commotion
about the guillotine \ beautiful WON.
an is strapped TO 1t, the AK falls. and
by one Of thosr quick transitions com
nun III ihph lll[ lfi' liAto ltti utdu az
pears 70 roll into the basket
Such Is an imperfect word descrip
tion Of one of the most notable scenes
ever attempted to be placed on the
screen. The company chosen to enact
II before the camera were gathered and
taking their positions Marat was be
ing posed: Charlotte was seating her
self men and women were arranging
themselves In groups. Then. when all
was ready. the signal was given and
the company. consisting Of hundreds OF
persons. was under fire of the camera
The pantomme had continued for
some time when the Photographic di
rector called a halt. Going to Marat
he led him apart from the others and
whispered something In his ear. While
he was doing so Marat cast n fright
ened glance nj Charlotte. The man
ager went back to his position of OBJ
servation, and the photographing re
commenced The chat. the laugh. the
the conviviality went on, each actor or
actress intent on his or her part. for
In a picture play everything counts: !:
there il no deadwood.
When the scene of the execution
came the only attention paid to II. ex.
cept on the part of Charlotte. was that
a number of persons raised their
glasses. and the pantomime Indicated
that they were drinking to one more
aristocrat put out of the way. As for
Charlotte, close observer would have
seen deep purpose In her eye. As
the head Of the guillotine's victim fell
into the basket she rose. ran like a
dash TO the table occupied by Marat.
at the same time drawing dagger
from underneath the kerchlef crossing
her breast and plunged it into his heart
An indescribable confusion followed
The buzzing of the machinery moving
the tilm ceased Every one ran TO
Marat. the men standing. the women
screaming. for all knew that this was
not the assassination scene. and II was
believed that he had been really
struck down lie never spoke again
As to Charlotte. she withdrew a l,t.
Tie from the group about the man she
had killed and stood trembling. Then
Tor the first time 1t was noticed thar
there was wild look In her eve. She
was led away. and none of the com.
pany ever saw her again.
The picture play of Charlotte Cor.
DAY was never put on the screen for
the public. The nlms were run
through before the management and
the murder scene was pronounced .
wonder. But there was SO much ob,er.
tion to 1t on the part OF Miss Sfanlev.s
relatives and others that the aim.
were destroyed.
Nevertheless 1t has been whisner>a
that the films comprising this scene O,
an actual tragedy were not given Owe,
to destruction. II is claimed tha, nr,,
vate exhibitions OF this unintepdad
part OF the play have been given 20.
managers and their friends. whethe,
or not this Is true. there can be ma
doubt that so realistic a scene eu.
h0dytnU