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Updated: May 4, 2025
She has sometimes been given the bevy. But it is easier to find performers who fit this chapter, than to find films. Having read so far, it is probably not quite nine o'clock in the evening. Go around the corner to the nearest theatre. You will not be apt to find a pure example of the Intimate-and-friendly Moving Picture, but some one or two scenes will make plain the intent of the phrase.
So let there be recorded here the name of another actress who is always in the intimate-and-friendly mood and adapted to close-up interiors, Marguerite Clark. She is endowed by nature to act, in the same film, the eight-year-old village pet, the irrepressible sixteen-year-old, and finally the shining bride of twenty.
It is two-thirds Action Photoplay, one-third Intimate-and-friendly. The notice does not imply that at times the story takes pains to be gentle. This bit of writing is all too typical of film journalism.
There is a clear parallelism between their point of view in verse and the Intimate-and-friendly Photoplay, especially when it is developed from the standpoint of the last part of chapter nine, space measured without sound plus time measured without sound. There is no clan to-day more purely devoted to art for art's sake than the Imagist clan.
There is nothing tense or restless about them, yet they embody action, the beating of the inner fire, without which all outer action is mockery. Hearthstone tales keyed to the mood and using the brush stroke that delineates this especial circle would be unmistakable in their distinction. Charles W. Hawthorne has pictures in Chicago and New York that imply the Intimate-and-friendly Photoplay.
Let the duck-yard be parading its best, and Annie among the milk-pails, her work for the evening well nigh done. The Vicar of Wakefield has his place in this form. The Intimate-and-friendly Motion Picture might very well give humorous moments in the lives of the great, King Alfred burning the cakes, and other legendary incidents of him.
She is in the cottage with the strange old mother. I have seen a painting in this mood by the Greek Nickolas Gysis. The Intimate-and-friendly Moving Picture, the photoplay of painting-in-motion, need not be indoors as long as it has the native-heath mood. It is generally keyed to the hearthstone, and keeps quite close to it. But how well I remember when the first French photoplays began to come.
We have the queen of the marionettes already, without the play. One description of the Intimate-and-friendly Comedy would be the Mary Pickford kind of a story. None has as yet appeared. But we know the Mary Pickford mood. When it is gentlest, most roguish, most exalted, it is a prophecy of what this type should be, not only in the actress, but in the scenario and setting.
Fill in the out-of-door scenes and general gatherings with the appointments of an idyllic English fisher-village, and you will get an approximate conception of what we mean by the Intimate-and-friendly Motion Picture, or the Intimate Picture, as I generally call it, for convenience.
Though the Intimate-and-friendly Photoplay may be carried out of doors to the row of loafers in front of the country store, or the gossiping streets of the village, it takes its origin and theory from the snugness of the interior. The restless reader replies that he has seen photoplays that showed ballrooms that were grandiose, not the least cosy.
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