Rodin's famous group of the citizens of Calais is an example of the expression of one particular idea by a special technical treatment. The producer who tells a kindred story to that of the siege of Calais, and the final going of these humble men to their doom, will have a hero-tale indeed. It will be not only sculpture-in-action, but a great Crowd Picture. It begins to be seen that the possibilities of monumental achievement in the films transcend the narrow boundaries of the Action Photoplay. Why not conceptions as heroic as Rodin's Hand of God, where the first pair are clasped in the gigantic fingers of their maker in the clay from which they came? Finally, I desire in moving pictures, not the stillness, but the majesty of sculpture. I do not advocate for the photoplay the mood of the Venus of Milo. But let us turn to that sister of hers, the great Victory of Samothrace, that spreads her wings at the head of the steps of the Louvre, and in many an art gallery beside. When you are appraising a new film, ask yourself: "Is this motion as rapid, as godlike, as the sweep of the wings of the Samothracian?" Let her be the touchstone of the Action Drama, for nothing can be more swift than the winged Gods, nothing can be more powerful than the oncoming of the immortals. CHAPTER IX PAINTING-IN-MOTION This chapter is founded on the delicate effects that may be worked out from cosy interior scenes, close to the camera. It relates directly to chapter three. While the Intimate-and-friendly Motion Picture may be in high sculptural relief, its characteristic manifestations are in low relief. The situations show to better advantage when they seem to be paintings rather than monumental groups. Turn to your handful of motion picture magazines and mark the illustrations that look the most like paintings. Cut them out. Winnow them several times. I have before me, as a final threshing from such an experiment, five pictures. Each one approximates a different school.