THE JARGON OF THE FILMS.

Dominion, Volume 16, Issue 171, 7 April 1923, Page 17

THE JARGON OF THE FILMS.

In a recent interview Sir Gerald du Maurier referred to the serious competition the theatre was meeting in the “super-film”. But (says the London “Morning Post”), he need have little fear as long as most films continue to be produced, sub-titled, and exploited as they are at present. What is practically a new language has been created round the film, which describes everything in exaggerated and often ludicrous terms, so that the performers are made to appear absurdly artificial both on and off the screen.

This jargon, largely evolved in America, has made the film the laughing st'oek of most educated people. The object of such extravagant language generally is to advertise the films and impress impressionable people. The public are to be rushed into a theatre on the crest of a great publicity campaign. But the true worth of these advertising schemes is being measured, and full value instead of loud-sounding nothings is demanded. Technical excellence of films has arrived. We now want more educated handling of the subjects. When the film-producer wants to describe a successful business man he calls liim “a great power on Wall Street,” 'and makes him live in a “soulstiffing haunt of Mammon.” Similarly, a pioneer or colonist is described as “hitting the trail for those wide, open spaces, where a man is a man.” Anyone who leaves the country to seek worlf in the town is inevitably “dragged down in the whirlpool of humanity struggling for existence in the city. 7 ’ The producer cannot get through a dramatic incident without reference to “the anvil of fate” or “the club of slander.” Films are packed with “petty” or “gentle souls,” “mother-love,” “pure air,” or “the glamour of the mystic East.” The heroine laughs a little silvery, rippling laugh, and runs one white hand through the contrasting ebonv of her luxuriant tresses.” All “film-stars” out of the studio are “philosophers” ; they say they act in order to do good tq others, and give pleasure, not because they receive a salary for their services. Most female “stars” are described as happy, genuine, fun-loving, wholesome, temperamental, plucky conse'entious and of Spanish descent. All this is part of a gigantic advertising campaign, which succeeds up to a point. But the public will not be fooled for ever. Foundations are needed, not mere trappings. This is why last year spelt financial disaster to many people dependent on the film both in America and in England. The film industry has now got to sober down, discard the dross and rubbish, and by talking and writing reasonable English say what t. has to say and mean it.

Mr. Seymour Hicks, as well as being ono of the very best of living English actors, is a person of singular versatility. At one moment he is writing a comedy, at another a musical play, both of these are in due course produced by himself, and coincidently he will probably be producing one or two plays for other people. Somewhere in between all these activities he will find time to write a book with a serious interest but enlivened by. many characteristic Hisksian witticisms. His latest play is “The Love Habit,” a translation from the French, which ho describes as “a Piece of in ""iree Acts.”

A casual remark to an old shepherd on the roadside between Christchurch and Timaru resulted in Mr. Allen Doone’s popular song, "‘The Quid Dudheen.” The popular actor-manager wanted a song and knew hg had to have it. All that was lacking was an inspiration, and the ancient one, who might have stepped from one of Pete? Graham’s studi.es of Highland cattle, supplied it. But he was a sturdy veteran from Galway, and the sociable offer of a pipeful as a tyre was changed brought to light a carved wood pipe of quaint design. “Maori work? No, Irish bog oak. ’Twas me father’s ould dudheen.” The light of discovery shone in the inspired one’s eyes, and long before Timaru was reached the song had definitely taken slitipe.

“Theodora” adapted from the immortal romance of Victor Sardou is one of the most spectacular offerings for 1923. Here is told a story of the Byzantine era, and the love romance of Theodora, the lion-tamer’s daughter, who defied Justinian, the Roman Emperor, and sacrificed her life and a throne.

Charming Madge Bellamy is the star in “Lorna Doone.” Frank Keenan who has been absent from the screen for some time will be seen as Sir Ensor Doone that stern forbidding character who led the out-laws of Bagworthy Forest. Others in the cast are John Bowers and Jaefc MacDonald.