critics of the photoplay--and there are some such--have
said some harsh things about "the mugging close-up and the
nerve-wracking cut-backs," nor have their criticisms been wholly
without point and justification. But only, of course, when these
technical devices are abused by over-use. Mr. Sargent has pointed out
that the close-up of the silent drama is only another form of the
spot-light used on the regular stage, and, similarly, the cut-back
finds its duplicate in the "off-stage" sound-effects of the regular
drama. Instead of the "galloping horse" effects of the legitimate
stage, we get on the screen the actual scene of the horseman dashing
ahead. But anything overdone is bad, and cut-backs and other similar
devices are no exception to this rule. Not only is our attention
called to the fact that the writer or director is working a certain
technical trick to death, but in following the story its working out
is spoiled for us as a result of the very thing used with the
intention of heightening our interest.

"Even Griffith, in his big production, 'Hearts of the World,' taxes
suspense too far at one point," says Mr. Sargent. "So clever a
trickster as he (and, like Belasco, he is more the artistic trickster
than the artist) has failed to realize that suspense, carried too far,
becomes first tiresome and then amusing. This applies most directly to
the single situation, but it is almost equally applicable to a
situation strong in itself, but which is depended upon to yield
suspense out of proportion to its value."

And, since Mr. Griffith's main suspense-producer has always been his
self-invented cut-back device, the error of over-using this technical
trick is made even more apparent by what this critic points out. Here
again a careful study of the methods of several different leading
directors is your best guide.

_10. How Various Kinds of Inserts Are Used_

The use of leaders, letters, and other inserts needs some treatment in
connection with the scenario. The ordinary statement-leader, such as
"Two years later. Bob returns to his old home," is used before the
scene to which it applies. It shows the spectator the passage of time,
and explains what is about to follow. The ordinary, before-the-scene,
leader, is frequently employed to make such a statement as, "Tom
accuses his brother of having forged the check." But the other way of
telling the audience what Tom does is the use of the cut-in leader--of
which more lat