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 incomplete. Such reasoning would do a great deal of good in the movie studios, from which a vast amount of silly publicity "dope" has come, announcing that this or that photoplay was highly artistic because such-and-such a well-known painter had been engaged to design the interior settings. One might as well say that a certain art student's mural decoration was good because a famous master had begun the work by painting a background for the figures, or that a piece of music was beautiful because a master composer had written an accompaniment which somebody else had afterward combined with a melody.

In the cinema composition the director must, of course, have mastery over the places, as well as over the persons of a film story. He can then make the setting a live, active part of the picture instead of merely a dead background; he may truly dramatize it. A notable example of the perfect blending of dramatic theme, actors, and setting is the German photoplay "The Cabinet of Dr. Caligari," which was first shown to the American public in April, 1921. This film, produced by the Decla Company, was directed by Mr. Robert Wien, and the scenic designs were made by Herman Warm, Walter Reiman, and Walter Rork. When the "movie fan" sees the beginning of this photoplay he is startled by the strange shapes of places. Houses and rooms are not laid out four-square, but look as though they had been built by a cyclone and finished up by a thunderstorm. Windows are sick triangles, floors are misbehaved surfaces and shadows are streaked with gleaming white. Streets