(EXAMPLE 26.) A girl is made to show pity for a sister-woman who is weeping because of some fell blow. She does not go over and embrace her; that would show sympathy and participation. Pity comes into her face, her poise of the head, her wistful attitude. And if sympathy, she would probably stand with hand half-raised in helplessness if the woman was bereaved. If some lighter grief, she would gently caress the other and smile encouragement. Gentleness is poignant!
It is the thoughtful addition of the little human touches and scenes that makes the great plays and gives appropriate expression to great ideas.
(EXAMPLE 27.) In scene 8, of “The Coming of the Real Prince,” we see Annie being driven from the kitchen by her unfeeling mother. The gist of the story would have been clear without dilating on this sequence. But the tragedy in Annie’s heart that was responsible for the play needed further visualising, so we see Annie passing up the back stairs with a broken-hearted look in her eyes; we see her cast herself upon her miserable cot and sob as tho her heart would break.
(EXAMPLE 28.) In scene 22, of the same play, we see the very depths of Annie’s soul visualized. First in the caption: THE DREAM OF PRINCE CHARMING AND THE WONDROUS CITY BEGINS. Annie, in grotesque position in bed beside battered lamp, reading “Cinderella.” Close-view shows her face, with lips moving, an ecstatic smile lightening her features. We return to the scene and see the book slip from her fingers, and in her dreaming sleep her hands clasp on her breast; she raises her hand as tho she saw someone approaching. A vision-scene pictures Prince Charming in doublet and hose. Returning to the scene again we find Annie wakened, with her hand over her eyes as tho what she saw was too brilliant to look upon.
The photoplay is silent only technically. In order that convincing illusion be accomplished, there must be a successful registration of all such sounds as affect the characters and action in the normal and natural development of the play. We are interested only in such sounds as have a direct bearing on the matter that holds the attention of the audience. In other words, it must—like all other interpretive matter—be contributory.
In indicating that the character hears a particular sound, we say that he “registers” it. The term register has been used too generally in photoplay construction to indicate what actors shall do under the stress of every emotion.
(EXAMPLE 29.) For instance, “Annie registers anger,” or “hate,” “that she will not consent to something,” “that she is displeased.” A character who registers anything taking place in his own heart or soul becomes merely an actor—he is pretending. Characters do not pretend—they ARE. They do not register their feelings—they FEEL them with results unquestionably natural.
Sounds are recorded then thru reflex action, or registration, just as they actually reflect against the drums of the ear, telling the hearer that vibrations have been produced affecting the ear. Sounds are visualized by showing the appropriate affect on the character or characters.
(EXAMPLE 30.) We might have a deaf old father and his daughter. Her forbidden lover is behind a stone wall. He whispers softly several times before she is conscious of his call. She turns, joyously, and the two pantomime behind the old man’s back.
Sounds are even more effectively visualized thru the employment of one or more correlative scenes.