New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-07-03
Sculpture and
Screen Are
Allies i'm Art
Plastic Principles Used i'm
Ihe Four Horsemen''
Also Seen i'm Raizac Film

s-.-a----------.-...-.
In y shop window on Broadway
stands little sculptured group repre-
senting "The Four Horsemen Of tho
apocalypse" It has attracted thou
sands OF persons who have admired It's
strength of modelling and It's dramatic
spirit in depicting shc ride of the four
dreaded figures across the land. The
sculpture IS an artists tribute TO one
Sof his pupils--a sculptor's expression
of appreciation for motion picture
director Les o. Lawrie, professor Of
sculpture at the Yale Fine Arts, mod
eled the striking group SIS gift to
Rex Ingram, one Of his former pupils
: at the Yale Fine Arts school, director
5 Of s'The Four Horsemen," the picture
= Of ibanez's novel, and also Of "The
b Conquering Power" the photoplay Of
Honora de Balzac's Eugene Grandet,
which is to be shown at the Rivoli
Theater this week.
Connection Between
Sculpture and Motion Picture
"There is close connection between
sculpture and the motion PICTURE" says
Mr.. Ingram. 81 studied modelling with
Professor Lawrie at the Yale School
of Fine Arts and have come to believe
that the same principles of form and
composition that govern the creation of
fine piece Of sculpture apply to tho
production Of an artistic photoplay.
Sculpture teaches us to see the essen
tials and to discard the non-essentials.
1t imprcsses one with the value Of sim
plicity, and in art it is the simple
things that are always the best. One
{ Of tho first things I studied in sculp-
ture was the elemental construction OF
) the human body--its forms and COM
position-and then it's action in the
expression Of life. And when l came
to make pictures found that the same
basic principles that apply to the por-
trayal of life In clay or marble apply
to its portrayal through the medium
of motion picture photography"
A few days ago Yale conferred the
degree Of Bachelor Of Fine Arts upon
Ingram for his motion picture work
This is the first academic recognition
of the photoplay as one of the fine arts,
4Conquering Power" Has
Same Cast as 'eFour Horsemen"
In his creation Of "The Conquerine
Power the Balzac story, Mr.. Ingram
used, with one exception, thu same
cast that appeared in "The -Four
Eorsemen." The scenarist, too, was
the same for both pictures--June
Mathis. The young screen master had
long desired to film the Balzac story
but not until he had proved in "Ths
Four Horsemen" that he could faith
fully project the peculiar European
characteristics was the opportunity
provided 1.-THE Four Horsemen'
proved his powers In development OF
character study and sweep Of dramatic
force. For the filming of the unusua
Balzac love story he obviously was
qualified.
Alice Terry and Rudolph Valentino
play the principal roles in the Balzae
picture, Miss Terry appearing in the
role Of Eugenie Grandet and Valentino
appearing as Charles Grandet. Other.
IN the cast are Ralph Lewis, Edna Du.
nary, Edward Connolly, George Atkin
son. Willard Lee Hall, Mary Hearn
Bridgetta Clark, Mark Fenton, Eugene
Pouyet and Ward Wing.
Private glimpses of 1.-THE Conquerins
Power" reveal that the young dirscto,
and his camera man, John B. Settz
have achieved the effect Of spirit pho
Biography in certain vision scenes with
out resorting to double exposure o.
other devices commo in tho repertoir,
Of motion picture photographers seek
Ing to visualize ghostly or transparent
figures.
"The Conquering Power" calls fo1
vision effects in making clear th'
mental fortunes Of PAre Grandet, tn,
miser in the story. How these scene!
were made with the new methods Mr.
Ingram would not reveal. Both he ant
Mr.. Seitz, to eliminate the tedium ant
microscopic caro- incident to maxim,
double exposures, worked for severa
weeks in devising an alternative ant
more practical means Of doing tn
same thing, and the young directing
genius declared that 1t would be un
fair to Mr.. Seitz to make public thu
important invention Of the photog