“Orphans of the Storm,” directed by D. W. Griffith. Because here is a masterly handled picturization of a famous old melodrama, etc.
“Miss Lulu Bett” and “Midsummer Madness,” directed by William C. De Mille. Because both pictures, dealing with classes of people remotely removed from one another, contain a penetrating and true study of character and because these characters have been welded together in both instances in potent, dramatic pictures.
“The Four Horsemen of the Apocalypse” and “The Conquering Power,” directed by Rex Ingram. Because tragedy and spectacle has been handled in the one, and tragedy in the other, with the discriminating eye of an artist. Because each presents its director as able in creating an illusion on the screen so complete as to dissolve the theatre walls into a part of the picture itself.
“The Three Musketeers,” directed by Fred Niblo. Because it is the best of Douglas Fairbanks' many best. Because it displays the fact that its director knows how to apply modern technique to a classic and still preserve the worth of the classic.
“Disraeli,” directed by Henry Kolker. Because it is the best screen version of a celebrated play ever produced.
“The City of Silent Men,” directed by Tom Forman. Because it raises a crook melodrama to the level of high art.
“Humoresque,” directed by Frank Borzage. Because it is the most faithful presentation of racial traits and characteristics filmed. Because its director reveals in it his uncanny power of developing a screen character until you can almost hear it speak.
“Sentimental Tommy,” directed by John Robertson. Because a rare and beautiful story has been transferred to the screen without harm or loss and because in it its director gave one of the most eloquent answers ever given to those who claim there are no artists in the art of picture producing.
“Peter Ibbetson,” directed by George Fitzmaurice. Because a rare and beautiful story has been transferred to the screen without harm or loss and because in it its director gave one of the most eloquent answers ever given to those who claim there are no artists in the art of picture producing.
“Stella Maris,” directed by Marshall Neilan. Because it is the best picture in which Mary Pickford has ever appeared.