The other cause is Charlie Chaplin,
whose one serious picture, ''A Woman
of Paris,” was primarily responsible
for the founding of an entirely new
school of movie direction. In "A
Woman of Paris.” Chaplin placed em
phasis on the apparently trivial de
tails of his story, rather than on the
mass effects. He proved that there
might be more drama in one eyebrow
than in all the infuriated mobs that
could be turned loose on the screen.
He discovered the enormous value;
of simplicity.
By doing this, Chaplin shattered tlie
tradition that a picture, to be really
great, must be constructed on a stu
pendous scale, with thousands of ex
tras and colossal sets to smite the
spectator between the eyes. That
tradition traces back, of course, to
D. W. Griffith's "The Birth of a Na
tion,” “Intolerance" and "Hearts of
the World.”
The Chaplin school—which may he
called the expressionistic school
(that’s as good a word as any)—has
produced, as its foremost exponent,!
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TODNY AND ALL WEEK |
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“WILD JUSTICE” |
A do* hero you will love In ||
a story that will thrill and
amaze with Us swift adven- |||
ture.
