The habitual reliance on the magic of the voice deprives them of the natural means of expression when they are to render emotions without words.

They give too little or too much; they are not expressive, or they become grotesque.
Of course, the photoartist profits from one advantage.

He is not obliged to find the most expressive gesture in one decisive moment of the stage performance.

He can not only rehearse, but he can repeat the scene before the camera until exactly the right inspiration comes, and the manager who takes the close-up visage may discard many a poor pose before he strikes that one expression in which the whole content of the feeling of the scene is concentrated.

In one other respect the producer of the photoplay has a technical advantage.