Furthermore, there have been some exceedingly popular pictures that have been very badly directed. No effort has been made to include these. And no effort has been made to include minor pictures quite well directed.
All points in the matter of direction have been considered. Minor faults have been glossed over when the merits have swung the scales overwhelmingly in their direction.
The list, finally, is not to be taken as anything more than contemporary.
“Shoulder Arms” and “The Kid,” directed by Charles Chaplin. Because, in addition to being the best comedies produced, they show a marvelous insight into human nature and because the dividing line between their comedy and the tragedies that might result from the same situations, is but the width of a hair.
“Way Down East,” directed by D. W. Griffith. Because here is a masterly handled picturization of a famous old melodrama. Because the rough edges have been smoothed over by the master hand of the director and because it closes in the biggest thrill ever presented on the screen.
“Orphans of the Storm,” directed by D. W. Griffith. Because here is a masterly handled picturization of a famous old melodrama, etc.
“Miss Lulu Bett” and “Midsummer Madness,” directed by William C. De Mille. Because both pictures, dealing with classes of people remotely removed from one another, contain a penetrating and true study of character and because these characters have been welded together in both instances in potent, dramatic pictures.
“The Four Horsemen of the Apocalypse” and “The Conquering Power,” directed by Rex Ingram. Because tragedy and spectacle has been handled in the one, and tragedy in the other, with the discriminating eye of an artist. Because each presents its director as able in creating an illusion on the screen so complete as to dissolve the theatre walls into a part of the picture itself.
“The Three Musketeers,” directed by Fred Niblo. Because it is the best of Douglas Fairbanks' many best. Because it displays the fact that its director knows how to apply modern technique to a classic and still preserve the worth of the classic.
“Disraeli,” directed by Henry Kolker. Because it is the best screen version of a celebrated play ever produced.