Categoria: Cronologia 1912

Oliver Twist Dickens’s Masterpiece on the Hepwix Film

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Oliver Twist 1912

London, August 1912. Splendid success have the Hepworth Company made of Charles Dickens’s greatest story, and while everyone, from artistes to operators, is to be most heartily congratulated upon a real achievement in placing this world’s classic on the screen in such a masterly manner, yet we are inclined to give our highest meed of praise to the brain from which emanated the original idea of picturing the moving and human story of the workhouse foundling.

It was an ambitious scheme in the first place, for perhaps of all the great novelist’s works there is not one which needs such a wealth of setting, such a variety of scene and such a close attention to detail as “Oliver Twist.” Every scene, incident, and character in this greatest drama of real life is so intimately familiar to the public, that the least divergence from the story would be a serious drawback to the popularity of the film. That we, as perhaps exceptionally close students and lovers of Dickens, were quite unable to find a flaw in the truth of detail, of costume and of incident, is the best proof we can put forward that “Oliver Twist” on the latest “Hepwix” film is a worthy representation of the “Oliver Twist” that Dickens penned. Can we say more in its favour? We doubt it!

A three-reel film, and when we saw it, running in length to some 3,500 feet, this latest masterpiece of the Denman Street house deals with practically every prominent incident in the novel, from the famous entry of Oliver into the story on the occasion of his “asking for more,” to end effectively and suitably with the reunion of Oliver with the Brownlow family and the heartfelt toast they are shown drinking to future happiness. It would be impossible, and indeed unnecessary, in a review of this length, to attempt to record in detail each sharply outlined scene as the one merges into the other in the pleasing manner which is one of the many likable features of the films of this house. But we must find space to record our high appreciation of the effectiveness of the setting of the scenes en plein air, and more of particularly those showing the scenes on the road to the house at Chertsey where the burglary was committed — where Sikes threatens the shrinking boy beneath the arch of Chertsey Bridge, and ostentatiously loads and primes his pistol to strike fear into his poor little victim — one can almost imagine the actual scene before one. And, be it remembered, that we who write this have to see miles of film every week.

We have referred before to the excellent acting of the characters in this fine film, but we feel that we are not going too far in our eulogy when we say that it is a very long time since we have seen such forceful and yet restrained acting, and such expressiveness of gesture and movement, as are displayed by the actors and actresses in this piece.

This becomes the higher praise when we are forced to add that in our opinion there is a notable tendency to exaggeration in these points with many artistes, a weakness which was perhaps somewhat excusable in the early days of picture plays when the artistes had not become accustomed to the deprivation of the spoken word to aid in their efforts, but which should have become less pronounced, with the greater appreciation of the art of picture acting by the public, and with the immensely increased help given by perfect setting. Even if one could, it is unnecessary to select any special artist for sole mention in a cast which employs only four principal characters, and so we may justly say that Miss Ivy Sillais as Oliver, Miss A. Taylor as Nancy, and Messrs Harry Royston and McMahon as Bill Sikes and Fagin respectively, all employ their opportunities to the fullest possible extent. Miss Taylor, we would add, could not be surpassed in her rendering of the part of the tender-hearted and loyal Nancy.

We look with every confidence to a record success for this really wonderful film, and the exhibitor who secures this ” exclusive ” for his district should be free of the worry of empty seats for at least as long as he is showing it.

Film Preservation August 1912

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Again I find pleasant occasion to quote from the New York World- this time from the evening edition. From a leading editorial entitled “Posing for Posterity” I select the following excellent extracts:

Moving Pictures of the burial of the battleship Maine, which took place March 16 th, have arrives in this city and are being shown to the public. Wonderful vividness the Moving Pictures promises to lend to History! The preservation of films of special public interest begins to be already a metter for the Government to consider. There is n reason why our grandchildren and great-grandchildren a hundred years hence should not see faithful reproductions of Mr. Taft signing the Statehood Bill for Arizona and New Mexico, the Durbar of King George V, and even more important events. What would we not give to-day for a Moving Picture of the signing of the Declaration of Independence? Or of Washington taking leave of is officers? Or Lincoln at Gettysburg? Is it not, after all, our duty carefully to record and preserve as archives such Moving Pictures of contemporary scenes and public persons as may have first-rate interest to posterity? Will not cities, libraries and schools all over the world desire such records?

And this prompts the question: What are we doing to preserve all these historically important film that are being made every day? If the manufacturers do not get together and preserve these prints and the negatives, the preservation of these films will become a public charge.

The Photoplay Philosopher (The Motion Picture Story Magazine, August 1912)

Playing for posterity

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Les Amours de la reine Élisabeth (1912)
Sarah Bernhardt, Les Amours de la reine Élisabeth (1912)

Strange as it may seem, motion pictures have done much in cultivating the public. The year 1911 saw a number of natural developments in the growth of the “Silent Drama.” Perhaps one of the most important of these is the tendency towards longer subjects. Films of more than one reel are no longer a curiosity and have been received with much favor. Ancient and modern history is brought back to our memory in an interesting way, while, were these same subjects to be put in a stage, the companies would be received with empty benches.

Dickens’ “Becky Sharpe” and Julia Ward Howe’s ” Battle Hymn of the Republic” have been pictured in an instructive and impressive way. While it cost more than $100,000 to put on Dante’s Inferno, just twice as much as to produce the play of Ben Hur, The Fall of Troy, The Crusaders, Cinderella, and a Tale of Two Cities have cost many thousands. As illustrating the progress of the “Silent Drama.” the Milano Film Company, of Italy, which evolved Dante’s Inferno, now announce the completion of Homer’s Odyssey. This immense production evolved an expenditure of thousands of dollars and was two years in preparation. This will show that the picture play is being developed in a very high class scale as to authors, actors, and elaborateness of staging. The best plays are being chosen and the most eminent actors have succumbed to the inducements offered by picture companies. Among the celebrities who have become allies to the camera may be named McKee Rankin, Sydney Booth, Nat Goodwin. Charles Kent. Mary Fuller, and others. An English writer recently asked Bernhardt if she did not consider her posing for the camera a retrograde movement, to which she replied: “I am playing for posterity. Art is always Art. no matter where it is or what the environment. What would we all give if the art of our Rachel could have been preserved in this manner, and who does not regret that science and invention could not have been resorted to in the days of Keene and Garrick.”

Perhaps the most important achievement is that “Salvini,” whom Charlotte Cushman pronounced “the greatest actor the world ever saw,” now over 80 years of age, has consented to produce his sublime portrayal of “Othello” before the camera. Among the many admirers of motion picture; are “Tetrazzini,” the famous opera singer, and Professor Starr, of the Chicago University.

Professor Starr has pronounced “the moving picture” the highest type of entertainment in the world, and Mark Twain, shortly before his death, said: “The motion picture show makes me feel brighter, healthier and happier.”

The “motion picture” is fast becoming a great factor in educational work. Do you remember how you used to brood over the crude pictures in the little old geography? And how you promised yourself that some day you would see these places of interest? If any one would have told you then that, in comparatively a short time, scenes of pulsing life, with all the action and color of the original events, would be flashed on the class-room wall, you would have talked of fairy tales and scoffed at the notion. Yet this is the latest and perhaps the biggest step in education. Already in New York City a movement has taken form to provide for the schools, colleges, churches, social settlement, and every center where education is an object, exhibitions of motion pictures. They are presenting in a fascinating way the most direct and exclusive information on given subjects.

Instead of the “Declaration of Independence” being read in the old boresome fashion, the very men who gave life and force to the document by signing it, will seem to gather at an end of the class room. Already in our State at the Boulder School for the Deaf and Blind they have pictures which are being successfully used to teach the deaf and dumb the scenes of mining and agriculture. One of the most fascinating uses made of the motion pictures has been to entertain and suggest normal thought to the insane.

I sat by the fireside dreaming of days of long ago,
And pictures seemed to form in the midst of the ember’s
glow
But faded e’er I could catch them, the coals to ashes died,
E’en as my hopes had perished and the heart within me
sighed.

I left the dying firelight, and the lonely, cheerless room
And wandered down the avenue, seeking to lift the gloom
When I heard the sound of music, saw countless lights
agleam
And suiting an idle fancy, I entered as in a dream.

I entered into darkness, but sudden, before my eyes
On a curtain of white, came pictures and I stared in mute
surprise,
Pictures that world! In wonderment I quite forgot my pain.
Pictures that lived! And with them I lived my youth again.

The North, the South, the East, the West were all at my
command;

The whole world came before me. at touch of an unseen hand.
Ah! the pictures by the fireside may fade and die away,
But those on the magic canvas live anew for me every day.

From a Paper by Hattie M. Loble. Read at a Meeting of the Daughters of Confederacy, Helena, Mont., Tuesday, March 19, 1912.