It is too much to ask that every motion picture director be an art director besides. A man might be perfect as a dramatic director and still be utterly lacking with respect to composition. But if the director cannot be versed in both the arts there should be, and doubtless will be in time, an art director working along with the dramatic director on every scene, interior or exterior.
The former artists now actually directing are few in number. Perhaps the foremost of them all is Maurice Tourneur who came from France several years ago and who was previous to his stage and screen work in that country, a mural decorator. His early productions here attracted widespread interest in the art itself because of the evident touch of an artistic hand. “The Blue Bird” was a triumph from the standpoint of pictorial artistry. So were several others he made at the same time. But they didn't make money. So Mr. Tourneur turned to the production of frankly melodramatic subjects. These he endowed too with all the art at his command and so lifted melodrama to a higher plane than it ever reached before.
Perhaps the fate of Mr. Tourneur's “The Blue Bird” is timely to recall now. Those today who clamor for more artistic and better things on the screen and who opine that no director or producing company has the courage to attempt such things and who insist that if such things were attempted they would be eagerly received, will do well to heed the pathetic fate of “The Bluebird.” The picture director and producer are always willing to strive for something a little finer on the screen but to date the public hasn't given them any appreciable amount of encouragement.
Hugo Ballin and Penhryn Stanlaws are among the artists now directing who have attained prominence in both fields. The latter has made long strides in the short time he has been in a picture studio and gives promise of attaining the same heights in the newer art that he attained in his original line of creative endeavor.
REX INGRAM NEVER LOST TRACK OF HIS PERSONAL STORY IN “THE FOUR HORSEMEN”
PICTORIAL BEAUTY WAS A DIRECTORIAL ACHIEVEMENT DISPLAYED IN “THE FOUR HORSEMEN”
A SCENE FROM “THE FOUR HORSEMEN.” HERE IS A STILL THAT ILLUSTRATES REX INGRAM'S ABILITY TO SUGGEST A SITUATION
Chapter XXII
DIRECTORIAL CONVENTIONS
In which the business of slamming directors in general is freely indulged.—Directors have created an array of utterly false conventions by their constant use of them.—A plea for them to stop.—A particular plea for them to stop picking on tobacco