“Journey’s End ”

Sun (Auckland), Volume IV, Issue 1046, 9 August 1930, Page 26

“Journey’s End ”

REALISM INSISTED UPON I BY SUPERVISOR OF I FILM ADAPTATION j [ “STAGE” NAMES USED When James Whale was mak-» ing the picture, “Journey’s End,” for Tiffany, he and Supervisor George Pearson used meticulous care to keep the players in the mood of the story, reports an American writer. The action, as all know who have seen either play or picture, is confined to a dug-out at the front lines, and the muddy, crude dim trenches. The light in the dugout, supplied by a few candles, is vague and uncertain. Dingy Little Dugout To maintain the mood of the story all the business connected with the making of the picture was transacted in the dugout and trenches. Staff conferences, production business, rehearsals were held therein, so that the actors became thoroughly familiar with tlieir surroundings and felt easy and at home when the camera wms grinding and the picture being photographed. Charles Gerrard, who plays Mason, the cook for the officers, was made to stick to his quarters, the kitchen pit, a little room off the dugout proper. He remained there wheu off the set in that cold, dismal, cramped little space, so when he appears on the scene he looks just as though he bad been In such a hole as Mason w r ould have occupied in real warfare. Title of Their Roles Another thing the director and supervisor insisted ou was the names of the players. They w r ere not allowed to address one another by their real names, hut by those they have in the picture. Colin Clive was not Colin or Clive to the others, even off the scene, but Stauliope, the character he plays. And lan Maclaren w'as spoken to as Osborne. This gave ease and naturalness to the speech before the microphone.