Great Falls daily tribune. [volume] (Great Falls, Mont.) 1895-1921, 1920-12-02

| LOS Angeles, 1dllI.. 1NOF- "A
1 new planet has recently appeared among
movie consultations in the form of the
Artist. He represents the latest at
| tempt of movie magnates to raise the
production of moving pictures from an
industry to an art.
From now on we can look gratefully
forward to pictorial effects on the screen
as well as human interest ones, for the
Artist is going to have his say, as well
as the director the star and the author.
Already the coast studios are becoming
fairly well populated with artists of re-
| pute including Paul Chalfin, the deco
rator, Penrhyn Stanlaws. the illustrator,
and Joseph Urban. the scenic designer.
Although it seldom gets credit for 1t.
the moving picture industry is well aware
Of its own short comings. 1t knows
that it is primarily commercial activ-
ity, in which popular appeal is more
important than quality, but it sincerely
endeayors to be as artistic as possible.
1t has Travelled a long way since the
days of two and three reelers, but it is
not satisfied to stop. 1t is ready with
its public to take the next step, which
is more artistic lighting and setting.
In the early days of the industry 1t
was the company alone that mattered.
People went to see a "Biograph" or
"Universal'' without paying any special
attention to the stars. But as the old
guard companies disbanded, the stars
became the chief attraction. Mary Pick
ford. Alice Joyce, Maurice Costello and
W.. s. Hart were followed to whatever
theatres booked them. Then the public
and the producers simultaneously dis
covered that the featuring of their IA
vorite star did not necessarily mean
well told story. and their confidence
shifted to the director But even re
nowned director did not seem to inspire
a good story so the vogue changed TO
popular writer's The day Of the author
has been long but the movies are now
recklessy seeking-perhaps once NOR
with their something better.
The notion seems to be gaining head
way that more effective pictures could
be made if the depicting of human emo
tions from the pictorial angle were CIV
en- more expert SUPERVISION
Screen to Follow Stage.
In other words the industry is on the
point Of timidly deciding that it is ready
for the revolutionary ideas and methods
that Gordon Craig and Adilph Appia
have introduced in the theatre. 1T VIII
be cautious, Of course. hut there is
strong movement for placing the, entire
process Of picture production ahdef Tue
control Of the artist.
According to Wilfred auckland, who
Is in charge Of the setting at the Fam
ous PLAYER studios at HOLLYWOOD this is
merely the next logical step. In his oplh-
ion the dealistic background cannot last
much longer THE building of real in
teriors" he says. has already been car
ried az far as possible Now for emo
tions and moods The tendency is to
get away from the strictly Photographic
end Of il. and TO deal in atmosphere
rather than arlualties.
In painting a picture an artist does
not paiut real house. reproducing
every minute detail That sort Of thing
belongs 10 the old ANA now despised pho
tographic school of art. He paints ia
something to give tone to the figures.
Thr great secret of art. as Whistler
said. i knowing what III leave out
Every once in q while you get shorN
director has Shown signs II an artistic
conscience. But the majority Of NOV
inc nictnres are still far behind CONNER
ciol autobiography. which is becoming less
and less Photographic, while most Of the
advertisements in the back pages of our
magazines are more artistic than the
average movie.
This Is particularly Interesting az
mission or the part OF WI. bu' N'".,s''
because he was perhaps the frst TO u
On the screen He was Mr.. Reiasc" Al
sistant for several years during Whith
time he developed stage fe can 20 isS
full height In producing lhe tasles.
Way" for the theatre. several wears
ago, for instance. Mr.; Buckia9a rented
the room chorus girl had ,l had On Or
ty-second street ~ Nf" YORK looh Z
scenic artist over and made sketch Or |
everything in it. 1t was reproduced IN
exact detail in that play
Yes" said he ruminatvely. as he sat /
" HI queer little office IT'D under the !
roof of one of the studio buildings !
Gordon Craig and | were schoolboys !
together. we grew up and started out
in our profession about the same tlitle'
but Gordon has followed the progressive
road, while ] have stuck to the old one
Aow sets ara Mada
But this is merely an example of Mr.
Rucklands whimsical modesty. for on /
his own road his achievements have been
noteworthy, also, and it is quite evident
that once authorized it would not take
him long to leap from realism to moods
and emotions, too Az ii u.s. he is con