The Art of the Moving Picture Part 11

If the talking moving picture becomes a reliable mirror of the human voice and frame, it will be the basis of such a separate art that none of the photoplay precedents will apply. It will be the _phonoplay_, not the photoplay. It will be unpleasant for a long time. This book is a struggle against the non-humanness of the undisciplined photograph. Any film is correct, realistic, forceful, many times before it is charming. The actual physical storage-battery of the actor is many hundred miles away.

As a subst.i.tute, the human quality must come in the marks of the presence of the producer. The entire painting must have his brushwork. If we compare it to a love-letter it must be in his handwriting rather than worked on a typewriter. If he puts his autograph into the film, it is after a fierce struggle with the uncanny scientific quality of the camera's work. His genius and that of the whole company of actors is exhausted in the task.

The raw phonograph is likewise unmagnetic. Would you set upon the shoulders of the troupe of actors the additional responsibility of putting an adequate subst.i.tute for human magnetism in the phonographic disk? The voice that does not actually bleed, that contains no heart-beats, fails to meet the emergency. Few people have wept over a phonographic selection from Tristan and Isolde. They are moved at the actual performance. Why? Look at the opera singer after the last act. His eyes are burning. His face is flushed. His pulse is high. Reaching his hotel room, he is far more weary than if he had sung the opera alone there. He has given out of his brain-fire and blood-beat the same magnetism that leads men in battle. To speak of it in the cra.s.sest terms, this resource brings him a hundred times more salary than another man with just as good a voice can command. The output that leaves him drained at the end of the show cannot be stored in the phonograph machine. That device is as good in the morning as at noon. It ticks like a clock.

To perfect the talking moving picture, human magnetism must be put into the mirror-screen and into the clock. Not only is this imperative, but clock and mirror must be harmonized, one gently subordinated to the other. Both cannot rule. In the present talking moving picture the more highly developed photoplay is dragged by the hair in a dead faint, in the wake of the screaming savage phonograph. No talking machine on the market reproduces conversation clearly unless it be elaborately articulated in unnatural tones with a stiff interval between each question and answer.

Real dialogue goes to ruin.

The talking moving picture came to our town. We were given for one show a line of minstrels facing the audience, with the interlocutor repeating his immemorial question, and the end-man giving the immemorial answer.

Then came a scene in a blacksmith shop where certain well-differentiated rackets were carried over the footlights. No one heard the blacksmith, unless he stopped to shout straight at us.

The _phonoplay_ can quite possibly reach some divine goal, but it will be after the speaking powers of the phonograph excel the photographing powers of the reel, and then the pictures will be brought in as comment and ornament to the speech. The pictures will be held back by the phonograph as long as it is more limited in its range. The pictures are at present freer and more versatile without it. If the _phonoplay_ is ever established, since it will double the machinery, it must needs double its prices. It will be the ill.u.s.trated phonograph, in a more expensive theatre.

The orchestra is in part a blundering effort by the local manager to supply the human-magnetic element which he feels lacking in the pictures on which the producer has not left his autograph. But there is a much more economic and magnetic accompaniment, the before-mentioned buzzing commentary of the audience. There will be some people who disturb the neighbors in front, but the average crowd has developed its manners in this particular, and when the orchestra is silent, murmurs like a pleasant brook.

Local manager, why not an advertising campaign in your town that says: "Beginning Monday and henceforth, ours shall be known as the Conversational Theatre"? At the door let each person be handed the following card:--

"You are encouraged to discuss the picture with the friend who accompanies you to this place. Conversation, of course, must be sufficiently subdued not to disturb the stranger who did not come with you to the theatre. If you are so disposed, consider your answers to these questions: What play or part of a play given in this theatre did you like most to-day? What the least? What is the best picture you have ever seen anywhere? What pictures, seen here this month, shall we bring back?" Here give a list of the recent productions, with squares to mark by the Australian ballot system: approved or disapproved. The cards with their answers could be slipped into the ballot-box at the door as the crowd goes out.

It may be these questions are for the exceptional audiences in residence districts. Perhaps with most crowds the last interrogation is the only one worth while. But by gathering habitually the answers to that alone the place would get the drift of its public, realize its genius, and become an art-gallery, the people bestowing the blue ribbons. The photoplay theatres have coupon contests and balloting already: the most popular young lady, money prizes to the best vote-getter in the audience, etc. Why not ballot on the matter in hand?

If the cards are sent out by the big producers, a referendum could be secured that would be invaluable in arguing down to rigid censors.h.i.+p, and enable them to make their own private censors.h.i.+p more intelligent.

Various styles of experimental cards could be tried till the vital one is found.

There is growing up in this country a clan of half-formed moving picture critics. The present stage of their work is indicated by the eloquent notice describing Your Girl and Mine, in the chapter on "Progress and Endowment." The metropolitan papers give their photoplay reporters as much s.p.a.ce as the theatrical critics. Here in my home town the twelve moving picture places take one half a page of chaotic notices daily. The country is being badly led by professional photoplay news-writers who do not know where they are going, but are on the way.

But they aptly describe the habitual attendants as moving picture fans.

The fan at the photoplay, as at the baseball grounds, is neither a low-brow nor a high-brow. He is an enthusiast who is as stirred by the charge of the photographic cavalry as by the home runs that he watches from the bleachers. In both places he has the privilege of comment while the game goes on. In the photoplay theatre it is not so vociferous, but as keenly felt. Each person roots by himself. He has his own judgment, and roasts the umpire: who is the keeper of the local theatre: or the producer, as the case may be. If these opinions of the fan can be collected and cla.s.sified, an informal censors.h.i.+p is at once established.

The photoplay reporters can then take the enthusiasts in hand and lead them to a realization of the finer points in awarding praise and blame.

Even the sporting pages have their expert opinions with due influence on the betting odds. Out of the work of the photoplay reporters let a superstructure of art criticism be reared in periodicals like The Century, Harper's, Scribner's, The Atlantic, The Craftsman, and the architectural magazines. These are our natural custodians of art. They should reproduce the most exquisite tableaus, and be as fastidious in their selection of them as they are in the current examples of the other arts. Let them spread the news when photoplays keyed to the Rembrandt mood arrive. The reporters for the newspapers should get their ideas and refreshment in such places as the Ryerson Art Library of the Chicago Art Inst.i.tute. They should begin with such books as Richard m.u.t.h.e.r's History of Modern Painting, John C. Van d.y.k.e's Art for Art's Sake, Marquand and Frothingham's History of Sculpture, A.D.F. Hamlin's History of Architecture. They should take the business of guidance in this new world as a sacred trust, knowing they have the power to influence an enormous democracy.

The moving picture journals and the literati are in straits over the censors.h.i.+p question. The literati side with the managers, on the principles of free speech and a free press. But few of the aesthetically super-wise are persistent fans. They rave for freedom, but are not, as a general thing, living back in the home town. They do not face the exigency of having their summer and winter amus.e.m.e.nt spoiled day after day.

Extremists among the pious are railing against the moving pictures as once they railed against novels. They have no notion that this inst.i.tution is penetrating to the last backwoods of our civilization, where its presence is as hard to prevent as the rain. But some of us are destined to a reaction, almost as strong as the obsession. The religionists will think they lead it. They will be self-deceived. Moving picture nausea is already taking hold of numberless people, even when they are in the purely pagan mood. Forced by their limited purses, their inability to buy a Ford car, and the like, they go in their loneliness to film after film till the whole world seems to turn on a reel. When they are again at home, they see in the dark an imaginary screen with tremendous pictures, whirling by at a horribly accelerated pace, a photoplay delirium tremens. Faster and faster the reel turns in the back of their heads. When the moving picture sea-sickness is upon one, nothing satisfies but the quietest out of doors, the companions.h.i.+p of the gentlest of real people. The non-movie-life has charms such as one never before conceived. The worn citizen feels that the cranks and legislators can do what they please to the producers. He is through with them.

The moving picture business men do not realize that they have to face these nervous conditions in their erstwhile friends. They flatter themselves they are being pursued by some reincarnations of Anthony Comstock. There are several reasons why photoplay corporations are callous, along with the sufficient one that they are corporations.

First, they are engaged in a financial orgy. Fortunes are being found by actors and managers faster than they were dug up in 1849 and 1850 in California. Forty-niner lawlessness of soul prevails. They talk each other into a lordly state of mind. All is dash and experiment. Look at the advertis.e.m.e.nts in the leading moving picture magazines. They are like the praise of oil stock or Peruna. They bawl about films founded upon little cla.s.sics. They howl about plots that are ostensibly from the soberest of novels, whose authors they blasphemously invoke. They boo and blow about twisted, callous scenarios that are bad imitations of the world's most beloved lyrics.

The producers do not realize the ma.s.s effect of the output of the business. It appears to many as a sea of unharnessed photography: sloppy conceptions set forth with sharp edges and irrelevant realism. The jumping, twitching, cold-blooded devices, day after day, create the aforesaid sea-sickness, that has nothing to do with the questionable subject. When on top of this we come to the picture that is actually insulting, we are up in arms indeed. It is supplied by a corporation magnate removed from his audience in location, fortune, interest, and mood: an absentee landlord. I was trying to convert a talented and n.o.ble friend to the films. The first time we went there was a prize-fight between a black and a white man, not advertised, used for a filler. I said it was queer, and would not happen again. The next time my n.o.ble friend was persuaded to go, there was a c.o.c.k-fight, incidental to a Cuban romance. The third visit we beheld a lady who was dying for five minutes, rolling her eyes about in a way that was fearful to see. The convert was not made.

It is too easy to produce an unprovoked murder, an inexplicable arson, neither led up to nor followed by the ordinary human history of such acts, and therefore as arbitrary as the deeds of idiots or the insane. A villainous hate, an alleged love, a violent death, are flashed at us, without being in any sort of tableau logic. The public is ceaselessly played upon by tactless devices. Therefore it howls, just as children in the nursery do when the awkward governess tries the very thing the diplomatic governess, in reasonable time, may bring about.

The producer has the man in the audience who cares for the art peculiarly at his mercy. Compare him with the person who wants to read a magazine for an evening. He can look over all the periodicals in the local book-store in fifteen minutes. He can select the one he wants, take this bit of printed matter home, go through the contents, find the three articles he prefers, get an evening of reading out of them, and be happy.

Every day as many photoplays come to our town as magazines come to the book-store in a week or a month. There are good ones and bad ones buried in the list. There is no way to sample the films. One has to wait through the first third of a reel before he has an idea of the merits of a production, his ten cents is spent, and much of his time is gone. It would take five hours at least to find the best film in our town for one day. Meanwhile, nibbling and sampling, the seeker would run such a gantlet of plot and dash and chase that his eyes and patience would be exhausted. Recently there returned to the city for a day one of Griffith's best Biographs, The Last Drop of Water. It was good to see again. In order to watch this one reel twice I had to wait through five others of unutterable miscellany.

Since the producers and theatre-managers have us at their mercy, they are under every obligation to consider our delicate susceptibilities--granting the proposition that in an ideal world we will have no legal censors.h.i.+p. As to what to do in this actual nation, let the reader follow what John Collier has recently written in The Survey.

Collier was the leading force in founding the National Board of Censors.h.i.+p. As a member of that volunteer extra-legal board which is independent and high minded, yet accepted by the leading picture companies, he is able to discuss legislation in a manner which the present writer cannot hope to match. Read John Collier. But I wish to suggest that the ideal censors.h.i.+p is that to which the daily press is subject, the elastic hand of public opinion, if the photoplay can be brought as near to newspaper conditions in this matter as it is in some others.

How does public opinion grip the journalist? The editor has a constant report from his const.i.tuency. A popular scoop sells an extra at once. An attack on the wrong idol cancels fifty subscriptions. People come to the office to do it, and say why. If there is a piece of real news on the second page, and fifty letters come in about it that night, next month when that character of news reappears it gets the front page. Some human peculiarities are not mentioned, some phrases not used. The total attribute of the blue-pencil man is diplomacy. But while the motion pictures come out every day, they get their discipline months afterwards in the legislation that insists on everything but tact. A tentative subst.i.tute for the letters that come to the editor, the personal call and cancelled subscription, and the rest, is the system of balloting on the picture, especially the answer to the question, "What picture seen here this month, or this week, shall we bring back?" Experience will teach how to put the queries. By the same system the public might dictate its own cut-outs. Let us have a democracy and a photoplay business working in daily rhythm.

CHAPTER XV

THE SUBSt.i.tUTE FOR THE SALOON

This is a special commentary on chapter five, The Picture of Crowd Splendor. It refers as well to every other type of moving picture that gets into the slum. But the ma.s.ses have an extraordinary affinity for the Crowd Photoplay. As has been said before, the mob comes nightly to behold its natural face in the gla.s.s. Politicians on the platform have swayed the ma.s.s below them. But now, to speak in an Irish way, the crowd takes the platform, and looking down, sees itself swaying. The slums are an astonis.h.i.+ng a.s.sembly of cave-men crawling out of their shelters to exhibit for the first time in history a common interest on a tremendous scale in an art form. Below the cliff caves were bar rooms in endless lines. There are almost as many bar rooms to-day, yet this new thing breaks the lines as nothing else ever did. Often when a moving picture house is set up, the saloon on the right hand or the left declares bankruptcy.

Why do men prefer the photoplay to the drinking place? For no pious reason, surely. Now they have fire pouring into their eyes instead of into their bellies. Blood is drawn from the guts to the brain. Though the picture be the veriest mess, the light and movement cause the beholder to do a little reptilian thinking. After a day's work a street-sweeper enters the place, heavy as King Log. A ditch-digger goes in, sick and surly. It is the state of the body when many men drink themselves into insensibility. But here the light is as strong in the eye as whiskey in the throat. Along with the flare, shadow, and mystery, they face the existence of people, places, costumes, utterly novel. Immigrants are prodded by these swords of darkness and light to guess at the meaning of the catch-phrases and headlines that punctuate the play. They strain to hear their neighbors whisper or spell them out.

The photoplays have done something to reunite the lower-cla.s.s families.

No longer is the fire-escape the only summer resort for big and little folks. Here is more fancy and whim than ever before blessed a hot night.

Here, under the wind of an electric fan, they witness everything, from a burial in Westminster to the birthday parade of the ruler of the land of Swat.

The usual saloon equipment to delight the eye is one so-called "leg"

picture of a woman, a photograph of a prize-fighter, and some colored portraits of goats to advertise various brands of beer. Many times, no doubt, these boys and young men have found visions of a sordid kind while gazing on the actress, the fighter, or the goats. But what poor material they had in the wardrobes of memory for the tr.i.m.m.i.n.gs and habiliments of vision, to make this lady into Freya, this prize-fighter into Thor, these goats into the harnessed steeds that drew his chariot! Man's dreams are rearranged and glorified memories. How could these people reconstruct the torn carpets and tin cans and waste-paper of their lives into mythology?

How could memories of Ladies' Entrance squalor be made into Castles in Granada or Carca.s.sonne? The things they drank to see, and saw but grotesquely, and paid for terribly, now roll before them with no after pain or punishment. The mumbled conversation, the sociability for which they leaned over the tables, they have here in the same manner with far more to talk about. They come, they go home, men and women together, as casually and impulsively as the men alone ever entered a drinking-place, but discoursing now of far-off mountains and star-crossed lovers. As Padraic Colum says in his poem on the herdsman:--

"With thoughts on white s.h.i.+ps And the King of Spain's Daughter."

This is why the saloon on the right hand and on the left in the slum is apt to move out when the photoplay moves in.

But let us go to the other end of the temperance argument. I beg to be allowed to relate a personal matter. For some time I was a field-worker for the Anti-Saloon League of Illinois, being sent every Sunday to a new region to make the yearly visit on behalf of the league. Such a visitor is apt to speak to one church in a village, and two in the country, on each excursion, being met at the station by some leading farmer-citizen of the section, and driven to these points by him. The talk with this man was worth it all to me.

The agricultural territory of the United States is naturally dry. This is because the cross-roads church is the only communal inst.i.tution, and the voice of the cross-roads pastor is for teetotalism. The routine of the farm-hand, while by no means ideal in other respects, keeps him from craving drink as intensely as other toilers do. A day's work in the open air fills his veins at nightfall with an opiate of weariness instead of a high-strung nervousness. The strong men of the community are church elders, not through fanaticism, but by right of leaders.h.i.+p. Through their office they are committed to prohibition. So opposition to the temperance movement is scattering. The Anti-Saloon League has organized these leaders into a nation-wide machine. It sees that they get their weekly paper, instructing them in the tactics whereby local fights have been won. A subscription financing the State League is taken once a year. It counts on the regular list of church benevolences. The state officers come in to help on the critical local fights. Any country politician fears their non-partisan denunciation as he does political death. The local machines thus backed are incurable mugwumps, hold the balance of power, work in both parties, and have voted dry the agricultural territory of the United States everywhere, by the towns.h.i.+p, county, or state unit.

The only inst.i.tutions that touch the same territory in a similar way are the Chautauquas in the prosperous agricultural centres. These, too, by the same sign are emphatically anti-saloon in their propaganda, serving to intellectualize and secularize the dry sentiment without taking it out of the agricultural caste.

There is a definite line between our farm-civilization and the rest. When a county goes dry, it is generally in spite of the county-seat. Such temperance people as are in the court-house town represent the church-vote, which is even then in goodly proportion a retired-farmer vote. The larger the county-seat, the larger the non-church-going population and the more stubborn the fight. The majority of miners and factory workers are on the wet side everywhere. The irritation caused by the gases in the mines, by the dirty work in the blackness, by the squalor in which the company houses are built, turns men to drink for reaction and lamplight and comrades.h.i.+p. The similar fevers and exasperations of factory life lead the workers to unstring their tense nerves with liquor. The habit of snuggling up close in factories, conversing often, bench by bench, machine by machine, inclines them to get together for their pleasures at the bar. In industrial America there is an anti-saloon minority in moral sympathy with the temperance wave brought in by the farmers. But they are outstanding groups. Their leaders.h.i.+p seldom dries up a factory town or a mining region, with all the help the Anti-Saloon League can give.

In the big cities the temperance movement is scarcely understood. The choice residential districts are voted dry for real estate reasons. The men who do this, drink freely at their own clubs or parties. The temperance question would be fruitlessly argued to the end of time were it not for the ma.s.sive agricultural vote rolling and roaring round each metropolis, reawakening the town churches whose vote is a pitiful minority but whose spokesmen are occasionally strident.

There is a prophecy abroad that prohibition will be the issue of a national election. If the question is squarely put, there are enough farmers and church-people to drive the saloon out of legal existence. The women's vote, a little more puritanical than the men's vote, will make the result sure. As one anxious for this victory, I have often speculated on the situation when all America is nominally dry, at the behest of the American farmer, the American preacher, and the American woman. When the use of alcohol is treason, what will become of those all but unbroken lines of slum saloons? No lesser force than regular troops could dislodge them, with yesterday's intrenchment.

The entrance of the motion picture house into the arena is indeed striking, the first enemy of King Alcohol with real power where that king has deepest hold. If every one of those saloon doors is nailed up by the Chautauqua orators, the photoplay archway will remain open. The people will have a shelter where they can readjust themselves, that offers a subst.i.tute for many of the lines of pleasure in the groggery. And a whole evening costs but a dime apiece. Several rounds of drinks are expensive, but the people can sit through as many repet.i.tions of this programme as they desire, for one entrance fee. The dominant genius of the moving picture place is not a gentleman with a red nose and an eye like a dead fish, but some producer who, with all his faults, has given every person in the audience a seven-leagued angel-and-demon telescope.

Since I have announced myself a farmer and a puritan, let me here list the saloon evils not yet recorded in this chapter. They are separate from the catalogue of the individualistic woes of the drunkard that are given in the Scripture. The shame of the American drinking place is the bar-tender who dominates its thinking. His cynical and hardened soul wipes out a portion of the influence of the public school, the library, the self-respecting newspaper. A stream rises no higher than its source, and through his dead-fish eye and dead-fish brain the group of tired men look upon all the statesmen and wise ones of the land. Though he says worse than nothing, his furry tongue, by endless reiteration, is the American slum oracle. At the present the bar-tender handles the neighborhood group, the ultimate unit in city politics.

So, good citizen, welcome the coming of the moving picture man as a local social force. Whatever his private character, the mere formula of his activities makes him a better type. He may not at first sway his group in a directly political way, but he will make himself the centre of more social ideals than the bar-tender ever entertained. And he is beginning to have as intimate a relation to his public as the bar-tender. In many cases he stands under his arch in the sheltered lobby and is on conversing terms with his habitual customers, the length of the afternoon and evening.

Voting the saloon out of the slums by voting America dry, does not, as of old, promise to be a successful operation that kills the patient. In the past some of the photoplay magazines have contained denunciations of the temperance people for refusing to say anything in behalf of the greatest practical enemy of the saloon. But it is not too late for the dry forces to repent. The Anti-Saloon League officers and the photoplay men should ask each other to dinner. More moving picture theatres in doubtful territory will help make dry voters. And wet territory voted dry will bring about a greatly accelerated patronage of the photoplay houses.

There is every strategic reason why these two forces should patch up a truce.

Meanwhile, the cave-man, reader of picture-writing, is given a chance to admit light into his mind, whatever he puts to his lips. Let us look for the day, be it a puritan triumph or not, when the sons and the daughters of the slums shall prophesy, the young men shall see visions, the old men dream dreams.