The standard photoplays have their exits and entrances across the imaginary footlight line, even in the most stirring mob and battle scenes.

In Judith of Bethulia, though the people seem to be coming from everywhere and going everywhere, when we watch close, we see that the individuals enter at the near right-hand corner and exit at the near left-hand corner, or enter at the near left-hand corner and exit at the near right-hand corner.
Consider the devices whereby the stage actor holds the audience as he goes out at the side and back.

He sighs, gestures, howls, and strides.
With what studious preparation he ripens his quietness, if he goes out that way.

In the new contraption, the moving picture, the hero or villain in exit strides past the nose of the camera, growing much bigger than a human being, marching toward us as though he would step on our heads, disappearing when largest.

There is an explosive power about the mildest motion picture exit, be the actor skilful or the reverse.