NEWS FROM FILMLAND.

Auckland Star, Volume LI, Issue 27, 31 January 1920, Page 18

NEWS FROM FILMLAND.

Tbe family screen drama may feature as a popular domestic record of the future. Decently, after a gathering of relatives, the latter were enteffcained by their hosts by a film record of the family, from the wedding, the babies first 'bath, and finally a close up view of his first tooth. Talking of shoes, Charlie Chaplin entertains quite a sentimental affection for his "mud scows," the familiar largesized pedal extremities one always associates with the famous comedian. Although constant wear has left them in a state of extreme patchiness, Charlie is loth to part with them. Bessie Barriscale is reputed to have a marvellous collection of hats, some of which are assessed at incredible sums. Amongst these elie has an antequuted collection of bonnets belonging to the period 1840 to 18S0, some of which are eaid to be worthy of introduction to any museum. Her shoes also are numerous, running into hundreds of pairs, pertaining to more phases of history than the average man can remember. William Farnum is sending out S.O.S. calls for original scenarios, says the "Picture Show." He asserts that he is only forced to use adaptions of famous novels as most of the scripts submitted to him lack the vital spark. Personally he prefers a story specially written for the screen, to the picture version of stories that have already been told in a book or play. The reason why producers favour material of this kind ie obvious. When using the book or play for a screen adaption, they have the advantage in so far that the story will carry with it a certain amount of advertisement. Every synopsis that Billy Farnum receives is carefully read, and even a script that is badly expressed, and clumsily worked out, will be purchased for the sake of any really bright idea it may happen to contain.. As everyone knows, the copyright ot Charles Dickens' works, literary, film, and stage, has now expired some time, so that any film company is at liberty to use these fiction masterpieces free ol charge. In the film world there is apparently a Dickensonian revival imminent. Maurice Elvy is filming '-Bleak House," and as he is out to produce scenes in their actual location, he very naturally nsks, "Where is Bleak House?" Tho point appears to be a debatable one. Whilst the Dickens Fellowship says it is in Xorthamptonshire, in an episode in the book, counsel, answering the Lord Chief Justice, asserts it is in Herefordshire. In filmland there are many people who never step before the camera, yet without them there woeld be no pictures. The property man, or "props," as he is affectionately termed, is one who., unseen and uneung, is a very hard worker, and indispensable in the studio. There arc a thousand and one things that "props" has to look after—ranging from articles of furniture, costumes of a hundred years ago, to the deck of a battleship or a portion of a zoo. The following is an instance, culled from the Broadwest Studios, of what may be demanded of the long suffering property-man. The producer greeted him one morning with: "For this week's work I shall require the complete furniture and accessories for a kitchen, a stockbroker's office, and a drapery stores. Among other things I want a hot joint of beef, three typewriters, a cash register, twenty babies in pcrambulatorß, and an aerop>ane" The fitting out of the kiU-hcn was n comparatively easy job, the furniture and utensils being hired from a big "household supply company in London; but when it is remembered that actual cookery was required to take place in the scene, that real stoves with real fires, real pastry, and steaming hot food had to appear, the size of the property man's task can be easily realised. Yet who, after watching a scene of this sort on ; the screen, could bring themselves to believe that it was taken, not in a real kitchen, but in precisely the same studio in which every other interior setting of the same picture was filmed V The property man is responsible to the producer that every detail is correct, or the critical picture-goer will be quick to find fault. The setting of the draper's shop was so far beyond the ken of poor old "Props" that he had to appeal to a large drapery firm to come to his aid. So, on an early closing day, the whole department was promptly packed into a number of motor vans and transported to the picture studio, where the scene was set by the experienced shop-assistants— even to the overhead wire apparatus which takes the money from the counter to the cash-desk. Even so commonplace an incident as the breaking down of a motor car involves a great deal of work for the property man. It would be simple enough to 'bring the car to :i standstill. and then Hash upon the screen the words "The car has broken down," but a good producer aims at telling his story as far as possible by pictures alone-, thus reducing tile number of wearisome subtitles to n minimum. In " A Daughter of Eve" a real breakdown had to be arranged, nnd 'Props" was sent out to scour the countryside for a car that would suit the purpose. Eventually one was found, and when the picture appears, you will notice that tlic tyres go flat and the bonnet works loose. thus conveying clearly the impression of a breakdown without the assistance of a worded explanation. Quito often the producer requires the use of live stock. In one film a flock of 500 sheep was required, and had to be driven several miles to the spot which had been selected for the setting of the scene, whilst in another a number of white mice had to be let loose in the studio. The difficulty of catching them again can bo easily imagined. Even co quiet a domestic animal as a cat may not always be a suitable subject for the camera. The average "pussy," if placed upon a table, will jump down and run away, so the property man has to search around until he can find an animal that will sit still and be good whilst the picture is being "shot. ' On one occasion a tame fox was required, and when at last one was found, the old lady who owned it would not allow Reynard out of her sight, so the property man had to arrange for her to accompany her pet to the studio. Another amusing incident occurred in a scene depicting a little boy fishing, for which a large-sized roach was required. With a deal of patience and a big net, "Props" eventually caught a beautiful specimen, and attached it to the end of j the line. As soon as even-thing was ready, the rod was handed to the smaJl boy. and the latter'? struggle with tho J roach was most realistic. When, howI ever, he discovered that, he had pulled a live fish out of the water, the youngster was so excited that he dropped the I rod into the stream, then fell in after I it, and the unfortunate property man had to rescue both the boy and the fishing tackle before the picture could be re-taken-