On a stage setting, the audience has time to absorb the artistry of beautiful scenery or the archaeological detail of structures. But on the screen the audience is allowed no time whatever to even glance at the perfection of the sets in the hurry of the action of the picture. Beauty of setting or perfection of detail is lost in the apparent necessity of gazing on so-called stars twinkling with glycerine tears or expanding with smiles of vampish wile. Scenes of Oriental interest or spectacle seem to be deliberately snatched away just as one's desire to see more is aroused. Apparently this is necessary in order to " can " the intricate plot of a novel into the limited space of time allowed for the running of a moving picture. We have seen sets on which time, money and the craft of special artists have been lavished in order to obtain a hundred per cent of perfection in color and detail which, when thrown on the screen, scarcely show ten per cent of value. 

Hitherto, the producers of film pictures do not seem to have attempted to cater for that considerable portion of the public who appreciate the higher standards of art and beauty. What is considered as the "paying public," are apparently those who inhabit the "small towns," whose desires seem to demand the presentation of melodrama and emotion in a setting of superlative gorgeousness, regardless of truth or culture. On the other hand, the enormous expense of star-salaries, studio expenditure, and the erection of numerous and costly sets with their elaborate furnishings, demand the necessity of producers ensuring a quick and large return on their investment. If production cost less, perhaps producers might be tempted to present more often pictures which would satisfy the cultured public and, at the same time, help to elevate the taste of those who inhabit the small towns, even if the profits were not on so inflated a scale. We have an excellent example in the phonograph, by which the standard of high-class music has been increased amongst all classes of the public. The screen has even a greater message for the people! 

It would appear, then, that the first step towards better pictures is to reduce the production cost to reasonable limits. And, as the elaborate details of settings are lost in the hurry of the action, it seems that here is an opportunity to reduce expenses by either using simpler sets which, by appealing to the imagination, suggest rather than visualize, or by the use of painted scenery. 

It is this latter form which is being almost entirely employed by Mr. William P. S. Earle in his production of the Egyptian film of "Tutankhamen." This is no new conception but has already been utilized in many productions, but in a limited degree as the upper portions of elaborate sets. Hitherto the chief obstacle has been caused by the somewhat difficult process of matching up in light, accurate proportion and perfect perspective, the foreground, against which the action takes place, with the painting. Secondly, such paintings require specially trained artists who understand the photographic values of monotones and the use of electric lights in the studios in regard to the lighting employed in the picture. The glass used may be of various size, say five feet by three. On this is painted in varying tones of grey, the scene required, every detail being brought forth with minute care for exact proportion and perfect perspective, seeing that the result will appear on the screen enlarged ten times. The painted portions of the glass are then backed with an opaque black paint. The bottom or the center of the glass is left unpainted, and through this clear portion of the scene the eye of the camera focuses onto the remainder of the picture completed in the studio. Great care has to be exercised that the actors on the set do not move beyond certain limits or they will suddenly and mysteriously disappear out of the picture. But they can be made to appear so as to be be moving behind columns, through arches and even, by careful calculations, to appear as if they were almost standing in front of the glass instead of twenty feet behind it! 

In this manner the effect of elaborate buildings, vast cities or the reconstruction of ancient civilizations can be obtained at one eighth of the cost which would be entailed in having to build them. Another method which may be used, is that called "double exposure." In this case a small but perfect picture is painted on academy-board in the same monotones of grey, with certain portions left in deep shadow. This picture is then carefully photographed in such a way that no reflected lights appear on the negative. The action is then performed in strong light against a plain black velvet background. This film is then superimposed onto the shadowed portion of the negative of the picture, with the result that the figures stand out in action. Great care has to be exercised in order to obtain the perfect proportion of the figures in relation to the painting. This method  is more restricted in its scope for action than the glass. 

One can see at once how vast is the field opened up for the production of pictures featuring historical stories or the pictorial pageants of the Orient hitherto curtailed by reason of the expense incurred, in creating sets of convincing value. The educational standard in the portrayal of the traditions of the past is enormous, for it is by the study of the lessons of past civilizations that we can profit most. Egypt, as the cradle of civilization, has always possessed a fascination for men, and the late sensational discoveries have stimulated this interest to an extraordinary degree in all classes of the public. By a study of the accompanying pictures, which show both the painting on glass and that for double exposure, the life and surroundings of the early Egyptians become a vivid reality. The titanic proportions of the temples of the Gods in relation to man can be fully realized by those who have not been so fortunate as to visit Egypt. The artistic beauty with which the Egyptians surrounded themselves can be appreciated by a truthful re-creation of their palaces and villas from the actual records they left behind in pictures painted on the walls of temple and tomb and descriptions on preserved papyrus rolls. The glories of ancient Thebes, the proud capital of Egypt built four thousand years ago and which no following civilization has ever rivaled, stands once again on the bank of the Nile in all its pristine beauty. Surely such pictures must stir the imagination of those who live in small towns in the West and show them that, after all, the old East has much to teach the raw West in municipal construction and the value of permanent monuments which, founded on Faith, stand forever as a memorial to the past glory, of man reflecting the divine guidance of the Omnipotent. 

In producing such a screen-picture as "Tutankhamen," the making of the various properties for use in the action has been greatly assisted by the re productions in the daily papers of the finds in the Pharaoh's tomb. It must be remembered that this funerary furniture was not specially made for the decoration of the tomb, but were actually the household goods which were in daily use by the departed. It was supposed that the Ka, or Double, of the dead, remained on earth as long as the human body it has occupied remained intact. Thus, at the final call, the Ka would be enabled to re generate its mortal form to face the  Great judge. Thus the Double required for its astral existence all those comforts and necessities to which it had been accustomed in its earthly existence. Food, drink, clothes, jewels and furniture, its work and pastimes, slaves and family. In the early dynasties the unfortunate slaves were sacrificed at the tomb, in order that their Kas might continue to serve their master in the Underworld where he sojourned with the Gods. Later, this barbarism was discontinued, and the familiar clay painted figures or ushabati, were substituted. Still later it was found more lasting to carve or paint these slaves on the walls of the tomb. They were represented in processions bearing the choicest of food and wine, the flesh-pots of which the mummy was wont to indulge but which now he must be content to watch from out the Sacred Eye engraved on the side of this sarcophagus.

Thus from the tomb of Tutankhamen it has been possible to reconstruct the actual furnishings of the Pharaoh's palace, the apparel that he wore and all the luxuries he daily delighted in for pomp of state or private indulgence. Again the throne of ivory, ebony and gold, carved with its bound captives, holds the regal figure of a Pharaoh grasping the Emblems of State, Scourge of Punishment and Crook of Mercy. The famous couch of gilded lions once more rests tired limbs and painted litters carry royalty protected from the ardent sun by feathered fans. Replicas of regal crowns and jewels set with pearl, agate and lazuli, adorn modern Americans in whose bodies of mortal flesh, for all we know, may live again those souls whose vanity they satisfied four thousand years ago. There are the wigs they wore, for even today, the Egyptians are lacking in hirsute covering and the dark-eyed maidens of the fellaheen adorn their scanty locks with braids of wool as palpably false as the beards worn by the ancient priests. It was the priests who were the oracles of the temples and a common oath of the day was to swear by "the false beard of the prophet!" In the temple halls we once more see the scribes squatting on the floor inscribing their rolls of papyri with the mystic hieroglyphics. Down the colossal colonnades come the stately processions of shaven priests bearing the sacred standards of the Gods, the Ibis of Thoth, jackal of Anubis, Cow of Hathor, and the animals symbolizing the attributes of Divinity. They carry the burners of precious incense, shake the silvery sistra, chant to the solemn thrill of harps, till the ceremonies of our own cathedrals sink into insignificance be side the splendid homage rendered to Ammon-Ra in mighty Karnak, the immortal monument to God created when the world was young. 

In the building of the sets to match up with the paintings, much ingenuity had to be employed in the ageing of the "flats- representing the carved bases of pylons or the drums of mighty lotus columns. Stencilings of temple carvings and hieroglyphics had to be highlighted to render them with the appearance of carved stone. Such an item as the correct construction of an ancient lock and key calls for much research, and the reproduction of the Nilometer for careful thought. Although every care has been lavished on research and workmanship by the artists in charge, it must be remembered, that certain liberties have to be taken in order to obtain effective photographic values, the limitations of studio space and the difficulty of finding the right types to play Oriental parts. But as far as possible, the true atmosphere which surrounded Tutankhamen when he ruled in Egypt, was reconstructed to inspire him as he lived again in a studio in Hollywood. 

As we said before, he who is courageous enough to undertake the production of an independent film with artistic merit as the chief object and • better moral tone as the theme, has • tough proposition before him when he approaches the releasing agents. Both these and the majority of the big theatres are the monopoly of the big producing concerns who have their own fixed ideas in regard to the popular demand. Take, for instance this production of "Tutankhamen". After many viscissitudes the release was obtained only by the name being changed to "The Dancer of the Nile," and much that dealt with the theme of Tutankhamen deleted from the action. Why? Because the releasers declared that the public.. were, heartily tired of the name of Tutankhamen and all concerning him. To a certain degree this is correct, a. vulgar publicity having done much to tarnish the brightness of the most marvelous discovery in archaeology of the age. But what the releasers failed to grasp, was that the reopening of the tomb and the hoped for revelation of that rarest of all discoveries, the Pharaoh in all his untouched regal splendor, must of necessity arouse the interest of the whole world. So the glory of the Pharaoh's name had to be changed to a supposedly more popular title dealing with a dancer! 

The same with the story. Practically all that which dealt with the moral struggle of Tutankhamen between the proffered strength of the ancient Gods of Egypt, backed by the wealth of Thebes, and his faith to the Aton sun symbol of Akhenaton, had to be cut out, in order that the adventures of the dancer might hold the premier place. Still the mutilated story as presented has much of beauty and interest. We see the schemes of the priest of Ammon tempting the young Pharaoh to desert the ways of peace for those of war; the regal bearing of Ankhnespaton, Akhenaton's daughter (whose mummy, per haps, may be found together with that of her husband and the clash of temporal and secular power. The en tanglements of the young Syrian Prince, who has come disguised to the Court of Egypt, with the dancer, which arouses the jealous anger of the Princess. The ever-present anxiety of Egypt over a failing flood of the Nile is well ex pressed, and the old form of sacrifice of a young girl to appease the River God used. as the chief dramatic incident. 

The scene of the sacrifice of the dancer to the impressive Sobek is one of the finest in the film, demonstrating in striking fashion to what use the painted glass can be used to advantage. The actual studio space for this was only a few feet, the set consisting of a single "flat," on which was stenciled the hieroglyphics at the base of the pedestal of the colossal figure of the god. Beneath this lay the crypt where the dancer is rendered insensible by use of the poisoned amulet before the final descent to the crocodiles waiting for their meal. From so tragic an end, she is saved by the arrival of her Prince and the timely rise of the Nile, on whose moon-lit waters they sail away to Syria, "to live happily ever after." 

The closing of the famous Lasky Studios ' both in Hollywood and New York for two months, may be a sign of the times, the beginning of the long looked-for change of policy. The terrific overhead cost of production has reached the limit of expenditure. Such productions as Cecil de Mille's "Adam's Rib" and the new "Ten Commandments" passing all record in lavish use of costume, sets and crowds, producing an overwhelming spectacle to the detriment of art. Pictures such as these excite and overwhelm one at the time, but are so soon forgotten. Whereas a film of a quarter the cost to which time and art has been devoted will remain in the memory forever. The cost of Pola Negri's sets and costumes in "The Cheat" and "The Spanish Dancer" are beyond belief, and, while there is a great deal which is exceedingly artistic in the photography, the Court costumes and sets are woefully over dressed and painfully vulgarized. There must be a radical change if the cinematograph industry is ever to rise to the level of a national art and institution. The murder of classical literature in order to make it suit the needs of the camera must give place to the screen-writer, just as the theatre has its specialized play-writers; a higher standard of directors encouraged, and cooperation between producers and the public. 

It has been suggested that the Little Theatre movement might well be applied to the cinema. There is a vast public to whom the present production does not cater, a public demanding an uplift instead of an insult to its intelligence, an artistic treat rather than crucified sentiment. Such a theatre would give the independent producer a chance to exhibit his artistic productions, the result of careful re search, perfect photography, and the best acting together with reasonable economy. The star system and the terrific overhead expenses would thus be eliminated and time expended on perfection. The Fairbanks productions are an exponent to some extent of this, making one or at the most two pictures in the year. The 'Thief of Bagdad," is an original tale written for the screen, and research and time has been lavished on the production. Unfortunately in the hurry of the usual film one has no time to appreciate detail of costume and set on which often much time and money has been spent. Those who are lucky enough to be in Cairo this year will be able to examine at their leisure the marvels of detail in the renovated jewels of Tutankhamen in the museum. Some of these have already been published in the papers, and one is astounded at the art displayed, a freedom from convention entirely due to the efforts and teachings of Akhenaton. The King's cup of delicate translucent alabaster, is an exquisite reproduction of a lotus, the buds forming the handle. The gold rings, dropped by the robber in his haste to fly from what he had perhaps seen in the inner shrine when he had the temerity to lay his sacrilegious hands on the Pharaoh, are astonishing examples of the art of the goldsmiths. The detail of the work is almost microscopic in execution. Here, is a wonderful field for such art being demonstrated by the film, which, thrown on the silver-sheet, allows every detail to be enlarged to the fullest extent. Coloring has been brought to such perfection, though not as yet on a commercial basis, that a wonderful pageant of the Tutankhamen discoveries might well be presented with fascinating effect.

It was Blavatsky who prophesied that the early years of this century would see the earth yield many of its hidden secrets of the past. Thus Egypt, Crete, Mexico and Thibet have all revealed in temple and tomb, palace and city, the arts and crafts of past civilizations from which we may learn not only lessons of material value, but of spiritual worth. And it is these which the cinema has in its power to give to the people of all nations with wider publicity and more vivid effect than by book or by word of mouth. From the tomb of Tutankhamen issues not only great marvels of forgotten art, but the mighty lesson that Art founded on Religion endures forever. 

Corlett, Dudley S. "Art on the Screen: or the Film of Tutankhamen." Art and Archaeology 16, Dec. 1923: 231-40.