Of course, that is true of the actor on the stage, too.

But the content of the words and the modulation of the voice can help so much that the shortcomings of the visual impression are forgotten.
To the actor of the moving pictures, on the other hand, the temptation offers itself to overcome the deficiency by a heightening of the gestures and of the facial play, with the result that the emotional expression becomes exaggerated.

No friend of the photoplay can deny that much of the photoart suffers from this almost unavoidable tendency.

The quick marchlike rhythm of the drama of the reel favors this artificial overdoing, too.

The rapid alternation of the scenes often seems to demand a jumping from one emotional climax to another, or rather the appearance of such extreme expressions where the content of the play hardly suggests such heights and depths of emotion.