Perry Evans — Little Close-Ups of the A. S. C. (1922) 🇺🇸

The million dollar smile of Perry Evans, A. S. C, is here seen in all its dazzling effulgence. For eight years Perry has worn that smile and a man who can do this and crank a camera while doing it is a “regular guy,” as they say in film lingo.

Mr. Evans had his cinematographic kindergartening in the home of the maestro, D. W. Griffith, and a schooling like this is good enough for anybody. If the foreign film has taught us anything, besides that good pictures can be made outside the U. S., it is that America had the first great and still has the greatest director and that the American cameraman is in a class by himself. This is not saying that the foreigner is not a good cameraman — it is affirming rather that the cameramen trained in the studios of America are the best cinematographers in the world. Griffith made The Birth of a Nation ten years ago — before Europe ever thought of attempting special features.

After making thirty-one pictures under the tutelage of Griffith a man ought to be able to make pictures satisfactorily for Bill Smith or John Jones, and this is where Perry Evans gets his faith. He went to Mack Sennett after leaving the maestro and has been there ever since — a pretty fine commentary — only two jobs in eight years. His work with Sennett may be judged by such pictures as A Small Town Idol, Down on the Farm, etc. The camera is the passion of Perry Evans’ life and if they have motion pictures in heaven and cinematographers go there it is a cinch that celestial bound picture fans will some day find P. E. there cranking the camera for heavenly hosts. ‘Tis well.

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Collection: American Cinematographer, February 1922

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