davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1921-03-20

tor seeks to realize form and charac
ter In his medium, sought to sculp-
ture these personalities on the motion
picture film through the application of
| lighting.
"The closeup is the most vivid
means OF depicting character, but only
when the character is fully portrayed
by the proper arrangement of iight
upon the face that is being pictured.
Some motion picturegoers complain
OF the so-called soft focus closeup.
That is not to be wondered at if it
is merely a fully lighted closeup out
Of focus, for it means nothing But
if it. is properly lighted so that the
character and emotion are seemingly
sculptured on the screen, then it will
have definite meaning, even though
it be out of focus.
II do not believe it is necessary to
be logical in lighting so long as the
effect is attained. For instance, if the
closeup is not lighted the same
| as the long shot Of the same subject
| it might be criticized as illogical: but
it is justitiable, l believe, if the dra-
matte reaction on the audience is sue
cessfully accomplished.
"The principles of composition that
are elemental in sculpture are equally
applicable in motion picture making.
IUValuaDle.
And, too, the formulas of composition
Of the single body that one derives
from sculpture are equally applicable
to masses Of people. In the handling
Of the ensemble scenes in THE Four
Horsemen' | sought to realize, so far
as practicable, the same ideals of COM
4 posit.cn that / did in one person or
in small groups. BY way Of illustra-
ton, one might assemble large crowd
OF actors in scene and, at a given
signal, have them all waving sticks in
the air. Specifically it might look
quite spectacular, but it would not be
really convincing as the replica of a
turbulent, swirling mob just because
of the waving sticks. However, d.
vide up the crowd into groups and
map out the composition of each
group just as sculptor might; then
coordinate the actions of these groups
in the mass of people and you will
get the real effect of which the wav-
ing sticks was only counterfeit.
SIN the -Four Horsemen' we made
all the exteriors possible on dull days
in order to use the open lens and get
a softer image. The purpose was to
get away from the crisp, hard effect
of the photograph and get something
Of the mellow mezzotint of the paint
ing; to get the fidelity of photography
but the softness of the old master;
to picture not only the dramatic ac-
tion, but to give it some of the merit
Of art. In endeavoring to realize what
/ believed to be the best effect of
composition l sometimes spent hours
arranging the lighting for scenes that
took only few minutes to film Not
that dramatic action was sacrificed in
any sense, but because Of an effort
to visualize the action more vividly
and convincingly through the maxi
mum of characterization. feel that
in seeking to realize in motion pic
tures the principles of the older arts,
particularly sculpture, their closer kim
drama will be irnmeasurablv advanced y
New-York tribune., 1921-03-20
Principles Of Plastic Art
Applied to Photo Drama

Rex Ingram, who directed "The Four
Horsemen of the Apocalypse" has
some definite convictions about the re-
lation of the art principles of sculpture
and painting to the making of motion
pictures. He believes that in the ap-
most potent force for bringing the
photoplay into full brotherhood with
the older mediums of art expression.
Mr. Ingram is sculptor and paint-
er, as we'll as photoplay director. He
studied with Lee o. Lawrie, professor
OF sculpture at Yale School of Fine
Arts, pupil of Saint-Gaudens. To this
mentor Ingram gives credit for the in
ception of the theories he has sought
to work out in "The Four Horsemen." /"
There is a close affinity between
sculpture and painting and the motion
picture" says Mr.. Ingram. ~ believe
firmly that in the application of the
art principles of these two older forms
OF expression lies the greatest force
for the advancement of picture max
ing. This is particularly true of sculp-
ture. studied sculpture for several
years before made pictures and thus
obtained an insight into it's principles,
which l regard as invaluable in pro-
ducing photodrama. And in applying
these principles to picture making
have become more and more convinced
of the kinship between these two forms
of art expression.
Sculpture teaches one to see the
essentials and to discard the non-es-
sentials. 1t impresses the value Of
simplicity, and in art the simple things
are always the best. One of the first
things studied in sculpture is the con-
structicn of the human body--its form,
its composition and it's action in the
expression of life. A thorough knowl-
edge of this is imperative in sculp-
ture, and when I came to making mo-
tion pictures / found quickly that the
same basic principles that govern the
portrayal of life, character and the
emotions in clay or marble are vital
elements in its portrayal through the
medium of the camera.
What l learned about the structure
of the human head, for instance, proved
to have direct relation to the ar
rangement of Photographic lighting in
order to bring out the character and
contour of the face. Every head and
face have certain inherent character
istics, certain personality of form.
Throw light full from the front and
the face and head appear almost like
a fiat surface. But illuminate the head
from the proper angle, so that the
llght and shade bring out the contour
of the face. and instantly the char
acter. and personality Of that face is
strikingly revealed.
ut is the relation Of lighting to the
human form that, to my mind, offers
one of the most fruitful fields for ad-
vancing motion picture art. In the
! selection of the cast for The Four
| Horsemen' this thought was kept up
| permost. Each character. in Ibanez's
remarkable story is definite person
ality, many of them very distinctive
personalities. We sought to pick play
ers who best typified his characters as
we saw them, and then / endeavored in
the composition and lighting. as we'll
as in the dramatic action, to portray
| these Personalities Just as the sculn-
New-York tribune., 1921-03-20

ing Show of 1915" It was entitled
pretty Baby" and it was sung by
Dolly Hackett and group of the most
comely of the chorus girls, who deco
rated the runway and addressed the
male portion of the audience
Esther Walker was q comparatively
unknown entertainer until she sang a
song called Sahara" by Jean Schwartz,
in Monte Cristo, Jr." 1t was the first
number of any account that attempted
to satirize the prohibition wave. Miss
Walker made the most of the song,
lending to it captivating personality,
clear. vigorous voice and q breezy
manner. The song, however, had a
Tilt and swing that would have made
hit by whomsoever sung.
Sigmund Romberg has made for
tune from "Bagdad," the leading song
hit of "Sinbad." Amid an Oriental set
ting and stage crowded with girls in
the dress of the harem it was sung
with clear and sonorous voice by
Franklyn A. Battle. "Bagdad" might
be called a typical Winter Garden num-
ber. 1t contained all the features
essential to big song success there
melody, rhythm and the opportunity
for gorgeous and pretentious setting
in other words, an appeal to both the
ear and the eye. Romberg is the COM
poser of wont You Be MY Daddy!"
which Rosie Quinn sang in aThe Pass
ing Show Of 1917"
New-York tribune., 1921-03-20

IKE the other movie actresses, vet she
clung to her work as continuity clerk
and did both kinds of work for q short
period.
Her work in the picture attracted the
attention of George Fitzmaurice and
he chose her to play the part of Intoxi-
cation in the super-special picture
Experience"
ut all seems like dream" mused
little Miss Ray. II had returned home
form the hospital and wanted to do
some work. Some one told me of the
Paramount studio, so l decided to try
my luck. succeeded in getting on and
now look at met
AT first my mother did not want me
to do it, but | have three brothers and
they are modern-mother, you know.
still holds some old-fash IDEAS
They persuaded her that it was all
right, so started.
IF don't get more parts I'll go back
to continuity work. Strange as it NAV
seem, l am not struck with the movies.
They told ME that l could do it, so /
am doing the best | can. But do not
intend to be idle and tramp around
from studio to studio looking for work
In pictures. I'll just work on here and
when parts come up that I can play /
Will do them if given the opportunity
In Experience" Miss Ray has shared
scenes with Richard Barthelmess. who
is playing the leading role of Youth,
and With such other Broadway favo-
rites as Lilyan Tashman, Nita Naldi,
John Miltern, E. j. Ratcliffe and Mar
jorie Daw.
New-York tribune., 1921-03-20
George Sidney Plays
600 Tim e s as Star
In Welcome Stranger

George Sidney, who has just passed
his 600th performance in Sam Harris
production, Welcome Stranger" re-
calls time when he appeared in Mr..
Harris first theatrical venture, which
was not such success.
This, of course, happened several
years ago. Mr.. Harris, full Of enthu-
siasm and new to the show business,
had finally collected the necessary tai
ent-which included Mr.. Sidney and
thirty beautiful girls--to organize a
variety show. 1t went somewhere into
Jersey to open. The opening might
have been triumph had it not been
for an unfortunate circumstance. When
Mr.. Sidney and the thirty beautiful
girls arrived in town they found that
they had made the mistake of select
ing town without a theater for the
premiere performance. The troupe
moved on to another town and opened
the next night. The third night II
opened in a third town, after which
IL closed for all time.
This was not Mr.. Sidney's first ap-
pearance. He appeared first as an anna
teur on the stage Of Miners Bowery
Iheater some thirty years ago. He was
the frequent winner Of theton of coal
or the barrel Of -four.
Later he appeared in vaudeville. frs,
with Lou Heyman and later with Harry
Won Tilzer. In 1898 he joined the Ward
and Vckes company and it was with
that organization that he created the
role of Busy Izzy" with which he was
identified for so many years. He was
with Fanny Brice in "Why Worry -
and with Douglas Fairbanks in "The
Show Shon" =
New-York tribune., 1921-03-20
Wbe Gbolutlun of q 5tar
George arltss

The stellar career of George Arliss
who has found one of his most color
1ul and best-fitting roles as the cruel
end sardoniC Raja o. Rukh in Winthrop
Ames's production Of "The Green God
dess." the modern play of adventure
in Central Asia, by William Archer
now nearing the end of its third month
at the Booth Theater, has been en-
tirely American.
1t was nearly fifteen years ago that
his name first went up in electric
lights, when Harrison Grey Fiske pro-
duced Ferenc Molnar's "The DeviP' at
the old Belasco Theater, New York
But even then he was "star" as far
as acting accomplishments and the
estimation IN which he was held by
American the eatergoers.
| Mr.. Arliss does not come of a stage
| family. His father, William Arliss-
Andrews, was a London printer and
publisher, who wished to have his son
| follow the same profession. After a
fair trial of that business young Arliss
rebelled and obtained an engagement
with j.. A. Cave to appear in "Saved
| From the Sea" at the Elephant and
Castle Theater, London, in 1887. Then
for year he appeared in stock in al
East End theater, playing many parts
often varying his impersonation OF
eacn rOle from night TO night, putting
much of his leisure time studying types
at the London Museum. Then followed
year on tour, in which he played
more than a score of roles. For two
years he appeared at the Vaudeville
Theater, London, under the manage
ment of A. and s. Gatti. In 1894 he
produced a play of his own authorship
"The Wild Rabbit" at Wolverhampton
acting the leading role. Later in the
year he took it to the Criterion The
ater, London, where it had a consider
able run.
| After varied career in London anc
in the British provinces he was en-
gagged by Mrs. Patrick Campbell to ap-
| pear in her support at the Royalty
/ Theatcr, London. In the autumn o1
1901 he first came to the United States
still in Mrs. Campbel's company. He
played the part of the Duke of st. Of.
perts in Pinero's "The Notorious Mrs
Ebbsmith" and Cayley Drummle in the
same authors Second Mrs. Tanqueray.'
He made an instant hit with those char.
acterizations and was engaged by Davie
Belasco to originate the role of the
| sinister Zakkuri in support of Blanche
Bates in "The Darling of the Gods.
His action of that l.art carved out his
own particular niche for him in the
affections of the American public and
as 1T turned out, in the history of the
American theater.
Mrs. Fiske next engaged him as 6
New-York tribune., 1921-03-20
His Funny Face Keeps
Him From Playing the
Shakespearian Roles

Andrew Tombes of "Blue Eyes,
which moves from the Casino to the
Shubert Theater on Monday, blames his
funny face for whatever theatrical mis-
fortune has followed him. Not that
Andrew Tombes has failed on the stage.
Far from that, ,Tombes' complaint is that
his ambition to play Shakespcarean
roles shave been knocked in the head
by the fact that his naturally funny
rhysiognomy has forestalled him at
every turn.
"It's like this" explained Tombes
between acts at the Casino Theater,
81 was trained for Shakespearian
roles. l landed with second rate road
company to gain experience and was
assigned to play Richard III right off
the bat. 1t is needless to say that in
stead of bing severe Richard the
audience laughed at my face and turned
all Of my lines into comedy, with the
result that the manager fired me on
the spot.
1--WE been with several other COM
panies since, but everywhere have met
the same rebuffs. All on account of my
face. The managers finally laughed me
out of my innermost ambition, and SO
here | am, forced by producers and
audiences alike to be funny, and I
blame my face for it.''
Andrew Tombes hasn't told half. He
tried his hand at serious roles in the
drama, but met the same reverses.
Finally, resigning himself to his fate,
he has earned an enviable reputation
for his character portraya.s in musical
comedy, scoring only as comedian and
for his dancing antics, which do q
great deal toward making BLUE Eyes,
are co-starred, one Of the delightful
New-York tribune., 1921-03-20
Aristotle Gets the Gate
In the Modern Athens

1t is an old axiom Of the theater that
when one has seen three plays the play
writing germ become malignant. The
next step is to pull down the encyclo-
pedia and read all that is set forth
under the title Drama" And among
the first things to be read is Aristotle's s
views of the essentials of play which
are embodied under the nomenclature
of the Greek unities-time, place and
action.
Just how Aristotle's three-unit meas
uring stick falls short on Broadway is
indicated by George Abbott, the hero
in "The Broken Wing" at the Forty
eighth Street Theater, who recently
took Professor Bakers play writing
course at Harvard.
II took Professor Bakers course at
Harvard, but when you ask me, on that
score, how the Greek unities apply to
The Broken Wing you tempt me to
reply Say, you got me all wrong
I'VE don't spend nearly 80 much time
over the three unities in English At
as you might imagine. In fact, although
] wouldn't want Professor Baker to sue
me for libel, l have an idea that he
doesn't think the Greek unities have
much more bearing on twentieth CEN
tury drama than Greek masks and
stills do on twentieth century acting
However, that's not what he said; that's
just what think he would say. Ny
supposition is based upon the fact that
Professor Baker asked for results, not
for adherence to codes. He called for
the greatest emotional result from the
given scene, and if the playwright
could get more Laughter, more tears or
more suspense by disregarding laws
of drama am sure that he would say
God bless you!' or pedagogical words
to that effect.
after all, with Greek drama, as with
everything else, it is the soul of it,
not the form, that makes it great.
Indeed doubt if Aristotle himself
intended to lay down any eternal laws
of dramatic art when he stated the
three unities. He may merely have
observed that the high class shows
of his day obeyed three rules, and
being an analytical old soul he jotted
them down. When, centuries after
ward, the drama recovered from it's
Roman debauch, and in the aftermath
of the Dark Ages began to open its
eyes and grope about, it found among
New-York tribune., 1921-03-20

the French an almost religious rever-
ence for everything Greek: and even
though plays were by this time pro-
duced under entirely new conditions
Aristitle's unities were regarded as
hard and fast laws and we're obeyed
to the letter. AS a matter of fact, the
theatrical environment which had
caused the technique of the Greek
dramatist did not obtain in Paris.
"The Greek theater had no change of
scenery and no curtain, and this oc-
casioned the necessity of having the
play take place III single day-the
unity of time. The Greek plays ex-
planned the plot with chorus, which
could not, without a strain on the
logic, be found in different parts of the
quiring the events to happen at one
locale. The third law, the unity of
action, is perhaps more closely linked
with the fundamental nature Of the
drama of all ages.
"Be that as it may, Racine and
Corneille, building their plays strictly
according to the unities, were out
classed by the Elizabethan dramatists
who wrote as they chose. When w.
Shakespeare took his quill in hand
he not only wrote plots within plots,
violating the unity of action, but, as
we all know, he also jumped his place
and his time all over the globe like q
Griffith picture.
Modern plays, it is true, generally
strive for unity of action, but is this
not more rebellion against the arti-
ficiality OF the sub-plot, the dragged-in
obviousness of the secondary char
acters and the comic relief, than the
desire on the part of Mr.. Cohan, Mr..
Smith and Mr. Dickey to stick to Mr..
Aristotle's law?
II don't believe there is much at
tention paid to academic restriction
by the playwrights of this age. In
fact, this period of the drama might
almost be called revolt against the
so-called we'll made play. 1t wouldn t
be surprising, moreover, that should
the authors of the current successes on
Broadway be asked to define the Greek
unities, quite a number of learned
brows would be wrlnkled for a mo-
ment before the answer came. Any
how, that's the way it is with the
unsuccessful authors-when you asked
me, | give you my word, had to think
fast"
New-York tribune., 1921-03-20

member of her notable Manhattan COM
pany, his first engagement being as
Raoul Berton in Leah Kleschna." In
the part he scored one of the biggest
individual hits of the century and con-
tlnued to appear in it for two years.
toire-"Tess of the D'Urbervilles, >"
Becky Sharp (the Marquis of Steyne
az unforgettable figure), "Hedda Cab
ler" and in several short plays written
by Mrs. Fiske. When Mrs. Fiske pro-
duced lbsen's "Rosemersh olm" Mr.. Ar
liss was cast as Uric Brendel, adding
measurarbly to his reputation. When
she produced Landon Mitchell's satiric
comedy, "The New York Idea" he was
cast as the Englishman, Sir William
Cites-Darby.
Then came "The Devil" his first
starring venture, in which Mr.. Arliss
repeated the success which had at
tended all his previous characteriza-
tions upon the American stage The
same year he acted the title role in a
drama atizaton of William j. Locke's
novel, "Septimus."
1t was on January 2, 1911, in Mon
treal, that Mr.. Arliss made his first
appearance in the play with which his
name has hitherto been most closely
linked, Louis N. Parker's "Disraeli." !"
~ oN~NSN itAiAi do q oLSlldI Vehicle IOT
three years. He gave, as the British
statesman, Characterization that will
go down in history as model of it's
kind subtle, penetrating and human.
Since then he has appeared in
"Paganini," in Barrie's gentle comedy
of "The Professors Love Story,'' in
Hamilton" of which he was part au-
thor, and in Booth Tarkington's "Polde-
kim" In "The Green Goddess" the
Raja of Rukh is a subtle, sardonic.
colorful role that fits him to a nicety
and one that has attracted more peo-
pie than the Booth Theater will seat
at every performance since the open
ing.
Mr.. Arliss is the only actor in the
United States and one Of the two Eng
disappearing actors to hold the honor
ary degree of Master Of Arts. Sir
nston-Forbes Robertson is the
other, but he has retired to private
life. Columbia University conferred
the degree upon Mr.. Arliss at its 1919
commencement.
Mr.. Arliss is the author of a number
OF plays, among them being "Hamil-
ton" written in collaboration with
Mary P. Hamlin; "What Shall It
Proft?" written in collaboration with
Brander Matthews, "The Wild Rab-
bit" "The West End" "There and
Back" "Widow's Weeds" and "The
Manor Farm"
New-York tribune., 1921-03-20
A ssLong, Heartbreaking
Battle'' Paves Way to
Success Before Camera

Many girls and men, too, for that
matter, are continually asking the
questions: GLOW can / get into the
movies 2" and "What experience is
necessary to act for the camera"
These questions were put to Tom
Forman, who has just finished direct
ing Thomas Meighan in "The Quarry"
at the new Paramount studio on Long
Island, recently, and his answers may
be help to many ambitious yet en-
brycnic cinema aspirants.
Technique is the greatest asset o.
successful screen artists" said Mr..
Forman, who has been in the motion
picture business for eight years and
has been writer, actor and director for
the silver sheet. "The most effective
stage or through work before the
camera. The latter, however, is long.
hard way. Some of our stars have
risen to the high rank from extra
parts, but it is the exception that
proves the rule. One thing is certain,
very few of the so-called schools OF
moving picture acting teach the
technique one must have to be sue
cessful actor
at takes long, hard study to master
the technique of any art. One must
have training to know what certain
gestures mean and to be able to pul
over certain emotions. The successful
musician, artist or sculptor must know
the technique of his art. The same 's
true of the actor. l feel music IN
tensely and love II, yet / cannot ex-
press that feeling because ] do NOS
know how to play a musical instru
ment-I haven't any technique.
$50 many girls think that they car
step right out of private life INTO
motion picture work with no effort al
all. 1t is just as absurd for that 70
happen as it would be for girl VINO
had never studied shortfNld to get up
from the breakfast table nd announce
that she was q stenograsher, or Tor
bank clerk to walk into a law Office ana
say 4 am a lawyer; let me try case
before a court
ut is the hardest profession in the
world" he said. "There are more +
heartaches and disappointments IN y
than any other business know ~
acting one must depend entirely upon
himself. He has to sell something ID.
tangible, while the doctor or lawyer
or dentist has something definite 70
trade on. But anything worth while =
worth struggling for and those VINO
think that destinies lie on the stage q
before the motion picture camera snouiu
not be discouraged. They must, now
ever, be prepared for long and neals-
breaking battle"