Higher Degree of Perfection in Cinema Drama

Manawatu Times, Volume LIV, Issue 7300, 30 October 1933, Page 3

Higher Degree of Perfection in Cinema Drama

SCOPE FOR AMATEUR THEATRICALS. .“'Not only docs the talking film give forms of drama suitable to all tastes, but it does so in a manner much more perfect than provided in the grand average by the legitimate stage.’-' This is the view of Mr John Fuller, whose life-long interest in Ihe legitimate stage and later entry into the photoplay industry qualifies him to offer an authoritative opinion. In a recent interview Mr Fuller suggested the example of the “close up’’ on the screen, asking: Where on the legitimate stage could an audienco of two thousand people get such perfection of expression as such pictures show. Even at 40ft away from the stage the finer nuances of eipression on the part of the actor are only faintly observable, and 90ft away, at the back of the thcatrefi they are largely lost. Then on the screen you get the most admirable settings, whereas on the windy night in a big theatre the draughts cause the scenery to flap and wobble in a manner that is the reverse of realistic. No, it has to be admitted that the talking screen has many ahvantages that make for a higher degree of perfection in presentation than could bo accomplished on the legitimate stage. “Tbo observation of the legitimate stage offers great chances for the amateur, and those chances are being keenly taken up by the repertory societies all over tko world. Amateur theatricals have always been a fascinating pastime, and who knows but what those amateur schools of acting will be the training ground of the future actors for tlie screen 1 ? They may even provide better actors and actresses than did the stage proper, as they are as a rule intensely enthusiastic and modernistic in their outlook ou drama. “We talk of our Bland Holts, George Rignolds, and Julius Knights, but what do tho young pcoplo in their teens or twenties know or care about them? They havo been born into a world of new ideas respecting the theatre; and instead of having one dramatic show at a time, as wo had here in tho old days, they are given the choice of eight or ten cinema dramas, many of undoubted merit, in the one week. “England is coming rapidly to the front ns a film-making centre,” continued Mr Fuller. “The quality of English productions has improved out of sight in the last two years, and we are beginning to find that English flavour and finesso in acting and dialogue that is so palatable to our taste. England has tremendous advantages, too, as it is in such close touch with the Continent. This is an immense advantage, as, if a picture is to be made in the French language —say a French version of a successful British picture —British producers are able to assemble French, German, or Dutch casts without any trouble in a minimum of time, whilo Hollywood is remote from such sources of Continental talent. Likewise, English artists wanted for film work in France or Germany can fly across the Channel in a few hours.” It had to be remembered, too, that the broad effect of the cinema and broadcasting had changed the mental attitude of many people. There were really no “rubes” to-day. Through the cinema the citizen of To Awamutu was just as enlightened and worldly wise as the citizen of Wellington or Sydney or London. It has brought about a universality of understanding by broadening the basis of tho people’s knowledge.