If he needs the fat bartender with his smug smile, or the humble Jewish peddler, or the Italian organ grinder, he does not rely on wigs and paint; he finds them all ready-made on the East Side.

With the right body and countenance the emotion is distinctly more credible.

The emotional expression in the photoplays is therefore often more natural in the small roles which the outsiders play than in the chief parts of the professionals who feel that they must outdo nature.
But our whole consideration so far has been onesided and narrow.

We have asked only about the means by which the photoactor expresses his emotion, and we were naturally confined to the analysis of his bodily reactions.

But while the human individual in our surroundings has hardly any other means than the bodily expressions to show his emotions and moods, the photoplaywright is certainly not bound by these limits.