Judge — December 9, 1922 — page 17: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

Ruth Hale’s Movie Page Heaving Out Literature E ARE gradually creating. of an increasing experiet the motion pictures, a little book of maxims to guid behavior. Th to have lead all the rest is: “If th gram says play by — nna Ascends, with us inal our future one which we now plan in whieh Alice Brady is appearing with a wanton squandering of her vivid gifts, is “from the play by Harry Chapman For: a wrete asa play wa affair, just the sort of thing concer which bruised and heart-weary me picture fans say : “It will probably fine movil We have I once the assumption, 2 knows what dr ation, that a t unded in hea play will maki movie. We imagine it is because play usually has a major part of phy melodrama. ‘There has been an in soluble, if tragic. tween much gyrating of arms and and the motion pictures, BET we are not here complai J against the mere use of b for the making of pictures. V about equally set against the use of y—and just about as set against any novel. Good or and novels do not make right picty ire Where pictures are worth a blame, they wn language, and, ( should have no other, Every little movement has a meaning all speak in their helping them, the its own, These little movements make an al- phabet. It will have to be learned, and le: well, It is far tric than speech, trickier than print. It makes the only language in the world which cannot lie— probably because it re- sists so successfully any attempt at human inter- vention. Any ide which exists in the mind J writes itself at once on the face. Any absenec of idea nh hint for directors writes itself on a face. Any feeling’ writes itself ona face, too, and what's more, on an entire body. . If you do not believe this, let somebody try to conceal a real feeling for sticks out all s the phrase goes. Everybody has always known that fecl- ing carried its own in- alienable pantomime. But strange enough, it has never been really used by motion pictures. Almost all of the actors Of course ning stion ke ard more than ry pessimism and desper- a good ndis- association of ideas be- legs, ning 1 plays just any the . plays Ires. “Oh have tried to pantomime specch, a a sort of nerson tt you are thunders above your h motion picture acting we mercialized charade so that Teannot hear you speak.” Well, so it does, What you feel drowns out — their speech—makes it utterly unnecessary, Y when it is not actually misleading. it is precisely with this natural and in- as opposed hotly to the formalized art of pantomime must great actor in the theater must employ evitable vantomime that motion pictures these true outward spirit. words. But the actor, deprivec ornothing. Grin great to indicate speech are not significant. I OWE picture acting that w It is with the acting ma must be the kind of ste seen, Hood” that minutes and He said to n of them, with . Mamie, ain't it a shame? signs of his motion f words, must use th and poses invented Having discovered: from “Robin ion pictures could groat art, we importuned Doug banks for an approximately f asked him how he twenty peop! And schen only deal, Any from inner They enrich and embolden his picture I IS probably time we got back to Alice Brady and “Anna Ascends.” s is a story that by no st genius whatever could be told singly to It is not only cluttered with but would fall wide apart without Alice Brady has one of the most delightful personalities of the the: the sereen. municating spirit, and she has exuber- She has expressiveness all over the eye. R, it is not primarily with titk them, are dealing. |. And this at can be five did it, . and make ntain if, or T lost your ticket.” to see a story. succeeded in getting it into their eves, that was the time to begin together to show it as plainly nas they had first seen it in di all worke ‘on the ser She | ~oanee, When they all finally Then they u will find in this scheme a con- spicuous absence of text. to follow. It is, You cannot out of a forty-piece k of granit between text and visual symbols is not so obvious as this, but it is just as real. It is no easy however, the make a statue chestra, nor music The difference tch of ater or com- s a fine, fre her, and if anybody could do something with one of the book- play-screen. stories, she could, But she is forced, in “Anna,” to a distressful_ monotony. Because her story is not advancing without the titles, she can do nothing much between titles but stand around and wait. She is engaged with the thankless “suiting the the word.” business of ion to She is a nist to her Egg View News- notes By Leslie Van Every HISKER trims are © expensive in Emy Neff’s barber shop that Truman Bilge says he'd let his freeze and snap them off before he'd pay any sich a price! * 8 . Sherm Spoor hopes that hoop skirts really do come back some day, because when they get here maybe him = and Myrt, his wife, can dance together without — her tromping around on his feet. * «¢ «@ Balboa Bogger closed his dentist. office yester- day while Tink Nitz used Balboa'’s pinchers to fix his automobile with.