The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1927-01-10

men in many
AdoIphe Menjou ways; Ric ar, d o
Cortez; LYDIA De
Putt as a siren Of modern make
and Carol Dempster, the maid who
suffers as only Griffith heroine can
suffer. There are examples of the
artistry of the director in sorrows
of SATAN" such as the revelation OF
Menjou as Satan to our pathetic
hero who makes women suffer by
loving him. Griffith uses sugges-
ton which reminds me Of THE Bat
on the stage to expose Menjou as
Satan. He does it by the means Of
a shadow that seems to cover both
the body and the physical body OF
our alleged hero of the story. This
means is so striking and so indiV-
dual that one knows without asking
that Griffith directed this picture.
And Griffith was lavish with the
spending of money in making "Sor'
rows of Satan" For example, he
desires to bring upon the screen the
effect of female temptation upon
Godfrey Tempest who starts out to
be q. hero of low degree but honest
before Satan gets busy with him.
To put over this idea, Griffith uses
the movements of a wild ballet,
showing the bare feet Of many dane
ers. The effect of this is SO strong
that one suspicious at once the
weakness of T mpest.
Many, many times you see the
genius of Griffith reflected in the
manner that the lights are handled.
At times many of the scenes be-
come really wonderful paintings in
motion, only to return to a pathetic
closeup rejecting another move
ment OF the story but connecting up
with the thought Of the scene being
shown upon the screen. In other
words, Griffith keeps. one thinking
about many characters although he
does not place them all in the same
scene.
An example of this is when Men
jou Is tempting Tempest with a fine
meal while a reptile of a vampire is
making cold but warm eyes at
Tempest Then without a sudden
warning, Griffith shows us the men
tai suffering of Mavis Claire, the
girl to whom Tempest should have
been nice. In this, think Griffith
shows such mastery Of direction
that he becomes without any doubt
the leading director in America
upon the lines of turning a movie
into dramatic opera.
Menjou yields magnificently to the
touch or the inspiration of Griffith.
Menjou is an artist in a dress suit, he
probably can convey more meaning
in his dress suit nice way than
any other man upon the screen to-
day. Under the direction Of Griffith,
Menjou really becomes the Prince Of
Satans. who had an hour on earth
after being tossed out Of heaven.
When certain scenes of Sorrows
of Satans"t were being made last
September in the Paramount studio
in New York, it was my good fortune
to visit the studio on the day that
Griffith had Miss Dempster and
young Russian actor at work upon
certain scenes, those rejecting some
of the suffering Of Mavis for loving
Godfrey too we'll and unwisely, as
the moralist would say.
Griffith was at work with Ivan
Lebedeff in some of the scenes. OF
course l wanted to see Griffith ac-
tually at work. l had been told it
was as easy to see Griffith at work
as to get to the breakfast table of
the President of the United States
if you were not a good" congress
man or a good" Senator.
1 heard a violin play a mournful
tune. 1t was whispered to me and
my friend, Charles McGrady, who
was with me on this trip that Griffith
was busy getting a tone picture"
Could I see the master? Wasn't l
there for the purpose? And so we
were taken around g little set in the
big stNdio. Griffith was upon a stool.
The cameras were clicking. A violin
was playing. And Griffith was slow
ly, but surely putting the stamp OF
genuine suffering upon the face of
the young Russian actor.
Lights went off. Mr.. Lebedeff was
told to rest. And Griffith came over
to us. We were introduced and he
began to talk to us as only a great
man can talk.
He told us OF the young Russian,
his experiences in the World War
and how this young actor had certain
sure for goodness connection with
royalty in other days in Russia.
Lebedeff joined us. He talked in a
broken accent. but with a charming
command of English. And then the
Russian listened to the instructions
of the master and another scene of
Sorrows of Satan" was being made.
A great man is never too busy to
be a gentleman and Griffith and
those with whom he associates have
that same quality. Griffith breeds
fine taste and big thought. He
thinks big things and he Is big.
Just thought l would tell you that
Griffith found time to talk to Charlie
and myself while he was actually
directing Sorrows of SATAN
Griffith has put dramatic music
into this photoplay. 1t is a study of
both dramatic and mental passion
expressed in the tempo of grand
opera upon the stage.
See this one. Please write and
tell me how you liked or did not like
it, but 1 know you will have a
grand experience watching the magic
touch of Griffith.
Charlie Davis and his gang this
week is presenting "Ohio Capers."
Because of the rush of shows yester-
day, 1 was unable to hear Davis,
but will try to find time before the