Show Eno m cr lWI ni l t 66 99 0 J aw a n r y A Aa l u t rc i S s k r RS RSS i 9 J Ji a t x x mYri r x Q a t b ba bi a i hP ry s 33 a i YC y 3 w 3 s 2 0 t e t r Y f ff f r ra a S ia k 7 Q r a 1 l 4 W t i i s bt LS li 3 rR s tap L Lp p s 1 r Y eF A rv p p trY A Ax x to w N NrY rY AS ASt r t i axe F n Z v vZ i I I II d r It charmin q S y we t wf t teas of now appear appear- 4 Ls big in the films in England 4 t k Psychology Newport smart d lay z r nf r t tr tN r N Explains I IS S the g PaUly Pl Princess who has ha as a aa ali Mrs Mor th Belmont fashionable a r Vienna society by r iy a K rl ro P ecu I li lar Fas F as signing conta act a movie e uw w r 1 P x r a 9 3 b t t I ri That Thatis Ft u s Is L Leading Lading ading Great Numbers of th r 1 w 3 s sy y J v Aileen Pringle dau law of f Sir James Janes Pringle the th worlds world's greatest Most Fashionable RIchest and land owner has bas gIven given up her b ondon society to become a ar r 1 ar mOVie actress 1 Men en and Women to Undertake f I Careers in the Movies r 1 y f frI t I r r rI By Charles harles Gray Shaw ay i Professor 01 of Philosophy ophy New York University tHE HE number of ol people struck by the I THI film is about equal to lo the number hit by the auto Both movie mOVle and I motor film and Ford are stalking through h the population striking all kinds of individuals How is the tho phenomenon of the struck film person to be explained The older people are arc familiar with the struck struck stage individual for there were I numerous ones who were anxious anxious to speak and act behind the footlights Who would not desire to be a Booth or a Bernhardt Who would not wish to ex- ex express ex express press in oice oice and pantomime such emo- emo emotions emo emotions as these super-artists super displayed before the world These and others Sothern and Marlowe Faversham and Maude Adams have had the power both to arouse applause and to awaken dramatic dra- dra dramatic dra dramatic matic instincts in the breasts of their admirers Such stage madness is nor nor- normal nor nor- normal normal mal and e explicable but movie madness lS is another thing How can psychology explain the strange phenomenon of the tho struck struck film individual In the case of the struck screen-struck man manor manor or woman oman th there re is little or nothing of the impulse which brings the be would would actor around to the stage door The en- en enthusiastic en enthusiastic applause the flowers and the living mg sense of acting before the nu- nu au audience dl nce are wanting The film is made mado in inthe inthe inthe the privacy of the studio with ith no au- au audience au audience save that of the studio staff Thus it is only in Imagination that then tho movie mOVle actor enjo enjoys s 's the tho presentiment of the many many spectators gathered in inthe inthe inthe the darkened theaters of New York and Kokomo of Chicago and Cripple Creek Creele and perhaps of Paris and Peking But all this invisible publicity has its thrill It suggests the Biblical idea of the saints exhibiting their emotions before an in- in innumerable innumerable in innumerable numerable invisible cloud of encompass encompass- encompassing encompassing encompassing ing witnesses It is the call of the in- in invisible in invisible visible It suggests the shadowy glory of know We-know not know not where It means a kind of paradise onearth In the attempt to account for movie madness on the part of the struck screen screen population one must bear in mind that much much of life is made of pride andas and as much more moro comes forth in the form of expression self expression We are arc all self con allare all are instinctively dramatic With the evolution of the race existence was the tho first fast consideration then came Now that existence is pretty well assured the film comes in to make mako possible the age of expression llon With all of us on the screen or on the street expression elf la is faa a paramount interest i f Ir wk r k t r w wr A ay t tk k J Jb b tw k r 2 1 B a teI eI p y r r t o ortt p hk 9 1 Y r rc c t b J fi r t r a aa ati atit y a A f r yM l ar Wy t fv x v a I Ia r Kathleen Myers is is the daughter of ofa off f g I a wealthy steel magnate but still ii she prefers trying to make a for e of her motion tune own as a 1 7 picture star I ii Borden Harriman ton son of Mrs Oliver Harriman anda and a nephew of the late lateE lateE lateE E H Harriman making his de- de debut debut de debut but in the movies in the role of ofa ofa ofa a bartender We Wo are conscious of what we shall wear how we shall walk what we e shall say We are fond of telling other people about what ourselves what we have been doing the scores we ae e have made in this or that game the adventures in to which we have indulged Along Slain Main Street such self self- self expression expression may be limited by provincial standards but it is still in evidence On Broadway there is more freedom of ex- ex expression ex expression but much more competition In Greenwich Village life is more flexible people more dramatic and the place more of a stage But all people In all places are arc so many actors and actresses ses From Irom such dramatic souls the film gathers in inIta its Ita follower followers m t Take Tako this vast r army of people s most of whom are arc followers of the film unfold the screen before their eyes and the natural result will follow Self Sef sion will come to a head and the more ambitious ones among the dramatic population will seek geek out a career in the movies The screens screen's the thing g It catches the imagination of the susceptible susceptible ble soul The screen is a short short- short cut ut to that self expressiveness after after which aU all have been longing We have wondered whether the neighbors have cut of the tho coat the shade of the die hat or orthe orthe orthe the pattern of skirt and tie Now our neighbors everywhere will have to ob ob- ob observe serve ob-serve serve us and the way we express our ourselves ourselves ourselves selves The stage tage was too small and and its ap ap- ap approach preach too difficult for this self seif sion ion Then the stage was a 11 bit aristo aristo- aristocratic aristocratic cratic as to talent At t last tho the field lidS broadened and tho the way been made easier by tho the film One may broadcast Ills his very personality in is a manner IU sug gesting democracy if not omnipresence The The kind of self-expression self which the movie mOVle affords affords is so shadowy and silent as to to suggest suggest something spiritual Mr Conan Doyle claims that he can photo photo- photograph photograph photograph graph souls in their orl original nal ectoplasm but her herb herbon here on the screen one can himself or herself appear in the shadow of flesh fluh as a Naturally we are skeptical skeptical about jho he tho soul photograph and tho astral body but we would like to see something of the sort Now Bo something of this thia sort is supplied by film and screen on which a tiny picture of f ones one's personality becomes gigantic when it itis itis itis is displayed The Tho stage could not can cannot cannot cannot not ever produce such uncanny effects effects since the stage is too real and solid too mechanical and noisy It is only mystical screen which which can reveal the spiritual personality of th the dis- dis display display dl play play the ego tl the tle e astral per per- personality personality The common stage performance In- In Involves involves In Involves the two leading sight senses senses sight and hearing The stage well An living Irving may not ot have hav the voice ofa of a Booth but both loth must speak the part well If it they are to play Hamlet In the unique case casa of the movie pla play however It is the eye only which re- re responds re responds responds to the appeal of the actor and what a range has the eye I This visual quality of the movie play increases the effect of spiritual self expression which makes such an appeal to the screen screen- struck screen struck soul The eye which is at once both microscopic and telescopic gives the screen a range and degree of fine fine- fineness fineness ness which are impossible with the stage performance To those a a ho have imagination tion this grand appeal will not be missed The screen as a means of expression gams ains where it lt loses when wIen it eliminates all sense of the spoken word for it lt is only those who are aro adept at reading hp-reading lip who ho see seo anything in the picture of the spoken but unheard lines Since Sinco there are no limitations of language the screen artist can eAn appeal to all the tho r races ces within our national melting pot Tho The eyes of all can read the meaning of the play which is given in action and gesture The Tho struck screen-struck individual has dim visions and pleasant presentiments of see see see- seeing seeing ing his or her face faco and form fonn revealed in all their pleasing winning ways to all the peoples of America to the tho Europeans and and perhaps to the tho inhabitants Inhabitants tants of the tho isles Will not the passion for or self expression and dramatic display be caught up as in a whirlwind by the tho endless of the flexible friend friend- friendly friendly friendly ly film It is peculiar to the struck screen-struck indi indi- individual individual vidual visual that he or she desires to play some special part in the movies a role adapted to his or her style stylo of personal personal- personality personality personality ity Such fantastic parts were nt never ver afforded by lay the legitimate stage where it was either tragedy or comedy Edwin Booth or John Drew Along with tese standardized types of drama the movie has introduced a couple of its the own own Vampire and the Sheik The stage with its solidity was called upon to represent actual life with with its appropriate emotions The stage lid tild go to certain extremes for it had its courtesan and villain But the stage was always more or lei less s real real- realistic just as it was alwa always s famous for fora fora fora a certain degree of the commonplace The presentation of the straight play thus made mado its appeal to normal people In their normal moods Not so the tho movie it it makes its appeal to the extravagant things in human life The Vampire has its place in mythology but is not found in real life yet on the screen this human beast has a very acceptable place and seems to fill a dramatic want The Sheik may exist in the Orient but not here where the police are on the watch Yet the Sheik captivates those who scan the screen een fust just as It arouses Sheik-like Sheik am- am ambitions am ambitions on ca on the part of the mad mild pee peo- pie peo pie Every woman from Theda Bara down believes behoves that there is something in her eyes just as us every man feels there is la something Sheik like about his masculine personality These Thee primi primitive 1 Gee tive instincts seek expression they find their place on the screen There is ia a freedom A out the film film play which was never found on the stage where certain fixed principles ha hate hai e ruled from the days of Aristotle to those ot of George M Cohan The real play must be plausible in the eyes of common It must gibe gl such an illusion of reality that we ae e shall believe beleve it lt might have haye hap liap- happened pen pend d to somebody some somewhere here The act acting ing yng hid had to be rational c en m n ti mad scene But such reality and rationality are not the natural boundaries of the or the display of the real andra and ra rational tiona ions t-ions the duty of the struck film-struck The screen appeals appeals to us then because it lt is isso isso isso so boundless The play on the bright screen in the darkened house is lit lit-e a adream adream adream dream and end who is not proud of hu his dreams reams or not fond ond of reciting them 1 Those These nocturnal states of mind are from selves our real selves they are the free mean mean- meanderings means mean of the very soul Something of this dream state appears on the screen especially when the tho past of the actor floats about his hb he head d in thel the form of a tiny up close The real actor may think about all this thia and review it in a soliloquy quy guy butt but here it is actual actual- actually actually ly done up in the form fonn of the past which comes back end and lives for the time This past film of the tho up close-up may be bethe bethe bethe the home which the prodigal has left or orthe orthe orthe the sweetheart cc the ambitious man has abandoned it is ts a 11 display of that which tile the the practical man keeps in the back ot of of his bis head or the bottom of 01 his hearl heart One himself reviews these pasts rather furtively as us though 8 afraid of them but on the tho screen they are dis die displayed pl played ye ina in a little day of judgment In Indeed deed the whole clo close up up e-up of the screen is such as to appeal to to the self conscious ness and vanity of the would-be would movie actor I If only only the public could gain a 11 swept wind swept picture of his soul at its bestor bestor best bestor worst or or worst how how fortunate that would be bo The screen then promises a revels revelation tion of ones one's very personality his or her true self as observed in the filmy astral body on the screen as seen again in the cut cut clear display of o ones one's es e's very souL Dout Doubtless t tess ess these Theda Baras and Con Con- Conway way ways these Pol Pola and Ro- Ro Ro-dolph Ro Valentines do not DOt rejoice In the gracious presence of Rachel or Macready but the movie stars enjoy a 11 more magic medium than that of the the stage stage sere n with its free and range In our dai day wh when n all live to te the limit of ex- ex ex excitement it is no wonder that all sorts of people seek the strange strange self sion slon of ot the s screen screen reen All AU feet are aT now turned toward Irony Holly Hollywood wood because the is democratic and the plo plot Something all can comprehend and enjoy The play itself Is not intellectual intel intel- intellectual intellectual toes does not i develop characters butis but bu butis La is content to a motion |