San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1923-10-14

q III II Mapei Norudnu is slap
stick Mona Lisa.
s,asApd 4. Richard Jones, with swift
YNpf direction and interest of move
INN, achieves that true technique Of
XNNNption picture of which the only
SW\XDasters are Charles Chaplin and
E&\yksivO directors of serials and
scan conceive of parody
0O ., The Extra Girl is it.
- ~ your painful turlesque of
specialized in ty Ben FUR
II Montana and Max Under
upon examination usually
TO be merely the ridiculous par
S-76f some popular feature picture.
Al The Extra Girl is not set out
'ex u parody; it is presented in seri-
(As vein; but its humor. crops out UNI
expectedly following such a title as
"Hoi.ywood-AnyD Day" with an ex
quisitely exaggerated bit of impress
sionistic babel. Also in the scenes of
the screen test in which the soulful
little Mabel Normand in demure hoop
skirts and pantalets unwittingly
makes herself first-rate comediene.
And Mabel, with the eyes of a Ma
dola and the mouth of mischievors
she.,evil, can do things with your emo
tons that Mary Pickford nor Mae
Marsh nor Lillian Gish could do any
belier. Then she quickly dams the
tursting tear. strangles the pregnant
sob with a deft application of the
principal of re custard pie, We slap
stick or we other Keystone lodges.
Mack Sennett, it is now apparent
stacking The Extra Girl" on top
OF ".Iolly-O" and "The Crossroads of
New York; is the master Inc .dtlrln.
atist of the movies. There is no one
who can approach his lusty combine
ton of melo and comedy
Lie his other lectures. "The EN-
! ira Girl" is in example of the dcmi-
mace Of incident over plot. Scnnett
| has got good enough plot tsuch as
i it isl and he's going TO stick TO 1t.
i More power " him; the hectic strug-
gle fer different" rlots is one If the
1 things the matter with most movies.
What is sad Of Sennett must he
Il div. del with h. Richard Jones, wlo IS
tnr active dirertoria! mind i'll these
j pictures. 1t. is impossible for an out
q slider TO properly say how much OF
the credit is the producers and how
| much is the directors in this particu-
II lar G: So.
4 ANYHOW, "The Extra Girl is the
l best thing Mabel or Jones or Sennett
H has done collectively or individual 'ly.
Next, grand cinema.
Just as grand opera is the comb
u nation of music and drama, grand
cinema will be the combination of mu-
sic and movies. tt,-..-s y
Arthur Bliss, English composer. be-
4 lie,ea the cinema i'll it's silence Offers
utter field to the composer TO-
4 blending music and dramatic art than
4 does the drama of speech.
Then, too. Grand opera qualif;ca-
y tons Of acting and singing ability III
4 the same persons are seldom full
4 filled.
n Grand cinema calls for acting tcah-
a niqua by one set of performers in the
studio. and musical technique by AN
IN other set in the theater orchestra.
{ Motion pictures have done much TO
tYpupuiarize The so-called musical elias
IA sizes. Many theaters have assembled
II remarkable orchestras. But this mu-
n steal appreciation and the orchestras
\ are not made integral with the pic
Hture.
N The music is usually mere accom-
Hpaniment TO the movie.
z The tendency to compose special
Sscores is coming more into vogue:
Il Arthur Jell is writing musical
score for Mae Murrays Fashion
Il Row."
! Frederick S. Converse Gin the east)
is writing "photoplay-symphony" to
accompany Glen Hunters screen I'M
n PRESERVATION of Percy Mackaye's 1.-The
n Scarccrowp under the title Puritan
III Passions" .As
III Victor Schertzinger, composer as
II well as film director, has written
n scores for his own productions. This
n approaches the idea of grand cinema.
The association of Charles Wake
Il field Cadman, the composer and Fer
II dinand Earle. the director, i'll the lat
\ ter film version of "Faust' appears
a geneuine attempt in grand cinema.
II Cadman will 20 step further than
N in. his composition of oriental concert
n numbers for Earles previous picture.
F, He will work on the Faust" score
while Earle works on the script.
N Scenes will be filmed TO the music
that is to accompany them on the
screen. And the music is written 80
\ that it can be chopped at any point
III the scene is chopped in the film edit
ling. CAS- the film is being made from
|'Goethe's drama there will not like!J
! be anything of Gounods opera in its
mlSic).
III Nave it will be soon-grand cinema.
"a You've seen the over-dressed women,
land yes-tle ovr-dressed man, too, for
that matter You know what your
Impression of such people usually is.
{Youd like to express il sometimes,
kIbut you Just hold in for good man
fncrs sake, so to speak.
n And the human bodies are not the
places where there might be
tendency TO over-dress. There are
fay,udiIy rouged women's faces and
,tflshily painted houses. among other
dngs. One could hardly be expect
~ 10 admire either.
a Mt isn't real. no matter how you
Hook at il. And Maurice Tourneur,
veteran movie director. says this
Tendency of some movie producers
Ito oyer-dress scenes and situations
lin the movies begins to threaten the
|yaalism OF pictures.
IN That comes from Tourneur direct.
He knows what he is talking about
when it comes to moving pictures:
anyway. He is one Of the most, II
n not the most. successful of movie d.
rectors. What he has to say of such
| matters usually has much weight
This is how he discusses the sub