Chapter XXVII
“BEST DIRECTED” PICTURES
A list of contemporary pictures in each one of which the art of the director has been best displayed
Chapter XXVII
I am not going to try, in conclusion, to list the best directed pictures made during the life of the picture producing art. Such a list would necessarily be overlong while those that we considered masterpieces three years ago are inferior when matched beside the worthy productions of today. The only picture that seems to have lived is “The Birth of a Nation.” This first pretentious work of D. W. Griffith will naturally rank high in any list of “best pictures.” So, too, do some of the earlier Chaplin pictures which have been reissued many times under different titles.
The list of best directed pictures appended therefore does not belong particularly to one period of producing activity. It does contain, however, pictures that will be as good five years from the moment of writing as they were when first shown on the screens of the picture theatres. Time dims the quality of the great rank and file of pictures but it will have a difficult time rubbing the polish from these. Doubtless many others should be included. There are the delightful comedies of Constance Talmadge, the more serious works of Norma Talmadge, numbers of Mary Pickford pictures and numbers of Douglas Fairbanks pictures that will perhaps live longer than those included here. William S. Hart has immortalized himself forever yet recent pictures of his fail to react in as powerful a manner as his earlier work.
Furthermore, there have been some exceedingly popular pictures that have been very badly directed. No effort has been made to include these. And no effort has been made to include minor pictures quite well directed.
All points in the matter of direction have been considered. Minor faults have been glossed over when the merits have swung the scales overwhelmingly in their direction.
The list, finally, is not to be taken as anything more than contemporary.
“Shoulder Arms” and “The Kid,” directed by Charles Chaplin. Because, in addition to being the best comedies produced, they show a marvelous insight into human nature and because the dividing line between their comedy and the tragedies that might result from the same situations, is but the width of a hair.
“Way Down East,” directed by D. W. Griffith. Because here is a masterly handled picturization of a famous old melodrama. Because the rough edges have been smoothed over by the master hand of the director and because it closes in the biggest thrill ever presented on the screen.