(EXAMPLE 31.) In one case we see someone in the act of calling; in the next we see the call registered. The intervening distance may be gauged by the amount of energy expended by the character. Or we may see a man escaping from peril, he stumbles and falls. The next scene shows the captors registering the noise of his fall.
In the elemental days of the cinematograph, it seemed improbable that music could ever be effectively registered. The visualization of strains of music, however, has met with most successful accomplishment. It is effected thru a careful imitation of the auricular and mental process of recording sound, combined with the use of symbols of emotion.
(EXAMPLE 32.) “The Lost Melody” (Vitagraph) is a play the plot of which is based on visualized sound. A strain of music sung and heard by a man under most virtuous circumstances is repeated when he is on the point of committing a crime, and it saves his soul.... In one scene we see the four leading characters walking along and singing each his love song, with his soul in his face; next we see the dancers at the club pausing and listening, some of the rapture of the singers faintly transmitted to their faces; in the roadway an automobile party stops, they put their hands behind their ears and listen, two keeping time, the other two put the spirit of the song in action and steal a lover’s kiss.
(EXAMPLE 33.) Five years later the song is sung to save Douglas. The mental process of receptivity is imitated. We see Malcolm on the terrace singing; a close-view is then screened of a line of the music and words; then we see Douglas pausing in his act of robbing his best friend, registering in alarm; then what he suddenly sees in his mind and heart is visioned, being the scene of that wonderful night years ago.
Thus the silent drama may become vibrant with emotional music and resonant with tongues that need no interpreter, for all nations understand the universal language of the heart. The most sublime characters and valiant deeds, ravishing color and mellifluous voices, are in our soul; sublime sympathy is in our world-old heart; profound understanding is in our God-given reason, and this multi-glorious human marvel is gratified to the utmost in having its humanity called into active being.
The leading characters must become the center of all action; the supernumeraries are nothing more or less than animated portions of the set itself.
CHAPTER VI
Characterization
IDENTITY AND PERSONALITY; CHARACTERISTICS AND IDIOSYNCRASIES; DESCRIPTION AND DELINEATION; ESTABLISHING RELATIONSHIP; MOTIVES; EXPRESSION; CONTRASTS.
IF we will view characters and characterization as elements of interpretive and contributory matter, along with inserts, setting and action, it should aid us in building perfect climaxes. This view would protect us from that error resulting from the leading characters seizing the bit in their teeth, so to speak, and running amuck with the story. Characters are subservient to climax. We have no use for any manifestations of their character outside of the needs of properly developing the big moment of the story. Character is the most effective means to our photoplay end.