Great Falls tribune. [volume] (Great Falls, Mont.) 1921-current, 1922-09-10

entino's first bull fight in the source
of the story"
Examples mentioned by Wyckoff
were experimental and were restricted
TO a character rather than big scenes.
But in Cecil B. DeMille's production
of "Manslaughter' the cinematographer
put his theories into actual effect
throughout the picture.
One of the most notable examples
of this kind is the elaborate Roman
b%acchanal which the producer has in
cluded in the otherwise modern drama.
The opening scenes of this bacchanal
show the pleasure of the party at its
height. Everyone is happy and joyous.
This exhileration gradually gives place
to a drunken stupor. in the midst of
which the barbarians storm the gates
and sack. ravage and burn everything
in their path.
Interpreting a Party
This episode is divided into three
lighting divisions. Ia the opening scene
| where pleasure holds sway the set vas
! flooded with light. Even the marble
pillars and ~archways in the background
were touched out with light. The
brightness of the Illumination thus
gives to the sprightIy action and added
quality of joyous abandon.
Later, as drink OvcrpOwers the rev.
elers. WyckOff altered his lighting again
to suit the mood. Thin shadows cover
much of the scene. The background
was dulled considerably and the effect
of the general stupor is again empha-
sized by the suggestive Lighting.
For the barbarian's entrance and the
subsequent scenes still a third arrange
ment of lights was made. Here the
terror of the jewellers and the ruth
lessness of the invaders were the out
standing features. To emphasize this
terror and paint the barbarians in the
most horrible colors the cinematogra-
pher placed his lights in such a way as
to throw gigantic shadows on the walls
with each movement of the invaders.
The magnified silhouettes of the bar
barians grimaced and writhed as the
originals of the silhouettes plundered
and ravaged.
Nor was the atmospheric lighting
confined to the Roman episode of this
picture. Messrs. DeMille and Wyckoff
made the most of the possibilities of
illumination throughout the picture.
Some particularly interesting effects
were achieved in the prison scenes
which form an important part of the
picture. In the story the girl enters
prison hating the world and the man
who sent her to prison. She energies
completely changed.
Into Prison and Out
The transition is marked by a CORE
spending variation in the lighting. Her
sulIen, resentful attitude is emphasized
effectively by deepening the shadows
both in her face and on the background
of the initial prison Genes. As the
| girl changes the lighting is varied to
make her face luminous and to tighten
the depressing atmosphere of the
prison.
But the prize effort along this line
according to the producer-is Il court
room scene that is n part of a brain
| fever drepm. No deCaliS are avalIanle
but 1t is claimed that the original light
ing developed .or this series of scenes
excels in atmospheric values the effects
achieved by some of the European
! producers with futuristic stage settings
and exaggerated makeup.
Alvin Wyckoff occupies the post of
instructor in cinematography and light
ing in the Paramount Stock company
! school. He is preaching his doctrine of
atmospheric lighting to his classes.
/ That this is destined to have a far
in general seems to be an assured fact,
| it is an interesting experiment that
bears promise of numberless interest
ing developments and marks another
: step in. the progress of motion pictures.