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Show ! VAST MOVIE FIELDS k IN FUTURE ARE : ASSURED Declares Living Picture Have Come to Stay as Vital Force t HKKRT sUERXMTr.lK i M4 resvlar Uvlag hT Urassatlat. ' PARIS, Feb. The moving pie-, I torea have come to stay aa a vital , force. No one is deceived by their contribution to art. That contribution i is Infinitely small at the present, but that la because the movies are young. Both the theatre and the moving pictures are means of expressing the dramatic art. In-the large sense af the wotd. But they are two distinct arts. The flrt. if not as old as tne world. Is at l'ast as old as recorded civilization. The second has Just been born. It cannot be said that It has even commenced to lisp. From the artistic point ef view, the best of the moving pictures today are nothing more than admlraulo phjto-uraphkc phjto-uraphkc realisations. VAST HHaonUM. But the moving pictures offer a field ef vast resources to the great students of human condoot. Had Phakespeare and Ibsen, who have gone to Ike extreme limit of the art medium la which ih-y worked, had at their dlsBoxal the wonderful fa-' fa-' duties of the movleY they would have 1 gone a thousand times further along the road of human thought and expe-. expe-. rtenee unexplored by the spoken of written word. 1 Bv the projection of thought on the ', screen by means of Images the moyles ; . an do what the theatre has .ailed 10 dDramatits can no longer resort to the monologue or asides to reveal ths : Inner thoughts of their characters. DIKFTClflr AtT. I And It Is an exceedingly difficult art ! to do so by means -of the dialogue. . The dramatist Is forced to break In on ' his own puppete with a comment In order to explain their Inner psychol-. psychol-. igv. often marring his work. Jtut think of wht the drama of lealousy will be, for example, when the psychological movie is created. Think of the profundity the tiony, the possibility of a scene In whlon tlio movemunt of the persons will con-tantly con-tantly be shaped by their projection en the screen under the forms of dlf-.'crent dlf-.'crent Images. . . These Images will not speak, and the interest In them will be only in the conflict- of their, kind images of sorrow sor-row images of hate, of love, of ridlcu- lou.mes. of susplcloiU94JOllu, UrVKS EXAMPLE. Think of a scene between two men seated quietly at a table who have in Iheir hearts great hate for each othrr and evil designs. What tragedy and inner conflict can be . revealed I to the public by means of the projection ot sinister Images. While these two remain calmly jested jest-ed talking to each other in the affable manner of friendly acquaintances, the images will reveal the drama that Is actual iv going on. The theatre could ne'ver do fhia What a pity it I. that Inoen lived too early to avail himself ofthe symbolism of the moving plc '"u'is Impossible to speak aclly of the moving pictures of the future. There has slresdy been a considerable achievement when one considers the extreme youth of the art But I see the time coming when the moving pictures will emphasise more nd more the symbolic posslbllit es. The time will come when the moving pictures will cease to compete with ihe stage in revealing that life which .an be adequately revealed bv the iipokrn word. The movies of the future fu-ture will be mnte and svmbolic. touching touch-ing on new phases of life. |