THE PHOTO-PLAY
THE moving-picture has developed an important branch in the field of literature. Several periodicals are devoted entirely to the subject, and in many of the standard magazines can be found regular advertisements for short “photo-plays.” The scenario-writers engaged in the work do not seem to be able to keep up with the increasing demand. Standard plays are pressed into service, and the leading managers and actors of the world are found among those producing the 5000 plays which moving-picture audiences require every year.
The drama on the white sheet dates back to the autumn of 1894, when Alexander Black of New York brought out the first “picture-play” before a distinguished literary audience. This first picture-play, called “Miss Jerry,” like later white-sheet plays by the same author and artist, was accompanied by a spoken monologue giving all the speeches and covering all the transitions of the action. The pictures, the making of which was begun before the appearance of the motion-picture device, were produced in series, indoors and out, from a living cast, as in the present plays, and were put on the screen with registered backgrounds by the aid of a double stereopticon at the rate of from three to five per minute, thus presenting stages of action—a prophecy of the continuous action perfected in the plays of to-day.
When Mr. Black gave “Miss Jerry” for the first time in Boston, Edward Everett Hale, greeting the author after the performance, exclaimed, “Black, it’s so inevitable that I’m chagrined to think that I didn’t invent it myself.” It seemed inevitable, also, that the motion-picture machine would take up the play idea; yet for a considerable time motion exploitation was confined to short, episodic films. Indeed, the early motion films were far less smooth in effect than the modern product, and at the beginning a prolonged run appeared like a hazardous undertaking for the eyes. Within the present season certain films have been run in almost unbroken continuity (as in Bernhardt’s “Queen Elizabeth”) for an hour and a half, which is to say that the motion-pictures are now giving the full dramatic progression suggested by the original lantern-play as seen by Dr. Hale.
Doubtless the value of the moving-picture drama will be greatly enhanced if speaking and singing parts in moving-picture performances, with the aid of the phonograph, have been made thoroughly practical by means of an instrument known as the “magnaphone,” as is claimed by promoters of the device. The promoters are so well satisfied with the outcome of their experiments that they claim it will soon be used in all parts of the country. The instruments are not sound-magnifiers, but consist of a number of instruments resembling the megaphone which are placed in various parts of the audience, and the voice from the phonograph, which comes over a wire, is thus brought close enough to all parts of the house to make it plainly audible to every one.[7]
The following progress of “Picture Plays” has been kindly furnished by Mr. Alexander Black:
1—First “plays,” in three acts, written, photographed, and presented by Alexander Black—1894.
2—Episodic motion-pictures placed in series.
3—Short five-minute comedies in motion pictures.
4—Scenes of travel in motion-pictures.
5—Scenes from novels in motion-pictures (“Vanity Fair,” for example, presented in consecutive series—1911).
6—Scenes from “Odyssey” in consecutive series—1911–12.
7—Sarah Bernhardt in “Queen Elizabeth”—1912.