The Washington herald., 1920-10-03


he stood gazing and bewildered at
the performing comedian But the
boy only shook his head. why,
IT'S Charlie Chaplin" the boy was
told. He gulped hard, much en-
barrassed. Well, / really thought
so, but didn't quite like to say so.
'.Ah, I see" said Chaplin, you were
afraid of insulting me-"
A quiet, smooth faced young man
slid into a chair at one of the rear
tables at the Zlegfeld Midnight
Frolic," shortly after the perform
ance had started. He was all alone.
He pounded his hammer with all
the abandon of the enthusia site
first-nighter. Very few recognized
him as Charlie Chaplin, who is di-
viding his time between English
literature, classical music. enter
tanning his friends in general and
a small boy in Particular, but has
nothing to say.
International distribution of mo-
ton pictures has for many years
been practiced, but only recently
did the actual filming of European
made American pictures begin.
The production of an English
story in England marks a new era
in picture making which motion
picture audience cannot fail to OBJ
serve. Heretofore, most foreign
scenes have been reproduced in
California or New York or New Jer-
sey. Usually the illusion has been
carefully and accurately developed.
But now, with the completion Of
the Islington studio of the Famous
q i Urff1Gh PrnAnnarS
Ltd, complete facilities are avail
able in London for the shooting of
scenes in England and on the con-
tinent.
Every device perfected in Amer
ica for the making of motion pic
lures has been installed in this new
London studio, and American eX-
ports are giving of their experience
toward the Improvement of the
CinematOgraphiC art in the British
empire.
The war, however. brought the
industry to a standstill in Europe.
Since 1914, tremendous strides have
been made in American production
of pictures. Cameras have been
perfected. new lighting has been
devised. settings have become far
more artistic, and players and direc-
tors have profited Ivy the continuous
application to their art.
Meanwhile. as Europe set about
reconstruction. motion picture men
there found their industry where
they had left it in 1914. And their
new productions were necessarily
handicapped. \ common fault with
many European pictures is a certain
tlatness Of effect in the staging and
n H. fv, - l.. l..
crs. due larg ,ly to the difference Of
American and European methods Of
lighting. Under the lighting sys-
TEN current in most European
studios. makeup has sometimes
proved rather an awkward matter
for the players, especially those
who have come to the screen fresh
from the stage. The usual base has
been yellow gr"aS" paint, No. 5lz,
which still remains useful under
certain conditions. But where the
best imported American lighting
plant is available and with It the
latest ideas as 10 scenic depth and
tone the more usual makeup for
the average film actress is a pale
pink grease pa'nt with pink face
pOwCcr as a sottener, blue being
sparingIy employed for the eyes.
These points have 20 be carefully
considered by the players and di-
reCtOrs, for the problems of make
UP and lighting are complex. But
constant experimentation has given
American pictures the advantage.
Now that American mechanical
equipment has beer installed in
London and American specialists
are imparting their accumulated
experience to British players, a new
type of European picture is ex-
peCted.
Americans interested in motion
pictures. as well as British film cir
cIes. are looking forward to the
completion of The Great Day" the
first picture to he filmed at Isling-
ton. And there are predictions that
its advent will mark a great day in
what the British call cinematog-
raphy.
Hugh ForL with some twenty
years experience in staging both
English and American productions
apG among the foremost of screen
directors, is directing this premier
production. The interiors ne has
been shooting in the new studio,
but for the eXteriors he has taken
his company on location to the most
suitable places.