It takes this new invention, the kinetoscope, to bring us these panoramic drama-elements.

By the law of compensation, while the motion picture is shallow in showing private passion, it is powerful in conveying the passions of masses of men.
Bernard Shaw, in a recent number of the Metropolitan, answered several questions in regard to the photoplay.

Here are two bits from his discourse:-- "Strike the dialogue from Moliere's Tartuffe, and what audience would bear its mere stage-business?
Imagine the scene in which Iago poisons Othello's mind against Desdemona, conveyed in dumb show.

What becomes of the difference between Shakespeare and Sheridan Knowles in the film?
Or between Shakespeare's Lear and any one else's Lear?
No, it seems to me that all the interest lies in the new opening for the mass of dramatic talent formerly disabled by incidental deficiencies of one sort or another that do not matter in the picture-theatre...." "Failures of the spoken drama may become the stars of the picture palace.
And there are the authors with imagination, visualization and first-rate verbal gifts who can write novels and epics, but cannot for the life of them write plays.

Well, the film lends itself admirably to the succession of events proper to narrative and epic, but physically impracticable on the stage.