Typically, since movies are created to depict a dynamic narrative of life under a rare perspective with striking parallels to the circumstances of reality, the watcher becomes gradually kidnapped by such an essence that occurs to fulfill the movie’s objective of getting the viewer seek profound relevance. As the movie serves a vehicle that takes one to reflect with vivid imagination and pertinent emotion at depth, the act of kidnapping, as Sontag puts it to be the principal role assumed by the film, is sustained. On the other hand, Norma’s observation that movies lost art during the arrival of the talkies in the late 1920s tends to signify reference to the aesthetic value of a motion picture. At a time, people sought inspiration from the fast-paced scenes with basic tale-like themes and muted dialogues that captivated illusions so that movie, as an art piece, seemed at that period governed by an ideal rather than real or factual principle of transporting the audience in a journey of pure heroic sentiments. Losing art though does not appear to wholly pertain to depriving the film of the essence of beauty found in its fictitious elements of presentation during transition to a decade in which the incorporation of sound would add prominence to the acts in virtual display. Both Desmond and Sontag necessitated making such judgment to indicate a change toward revolution and the loss of traditional craft is just a single aspect that needed occurrence to permit innovation or a new concept and approach.