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representative of the audience, delighted with the principles of this new country, and demanding that they should be universally applied. His character, however, is ruined by the attempted serious delineation of his love affair with Aline.
(3) At the end of the film, Pausole announces his conversion to monogamy through the ministrations of Queen Diane! (This is after Pausole and Diane have been lost at sea, being unable to locate Trypheme because it does not appear on any of the world's maps. An interesting addition, but introduced and disposed of far too perfunctorily.)
(4) The indecision at the basis of Pausole's character is nowhere hinted at, and the domination of Taxis becomes immediately ridiculous. The king of The Merry Monarch is merely a bon viveur; the king of Les Aventures du Roi Pausole is the one character in the book who is created in the reader's own image. The puppetperformances that come from English and American, and now German, studios make us more than ever willing to see a film of human character. Here was a great opportunity.
For the last three of these changes the censor cannot be held responsible.
The Merry Monarch has been praised for the agreeable patterns of its camera-work, but the director has apparently no eye for significant detail. His obtuseness in this respect is revealed notably in the flat filming of the ballet : not a single detail is brought out by camera position or angle. An attention to significant detail, however, presupposes a respect for one's subject-matter. And it seems impossible that anyone could feel respect for the mixture of crudity and conventionality that is The Merry Monarch.
THE POET AND THE FILM
G. F. DALTON
I should be very grateful to Herbert Read for a little further explanation of some points in his article, "The Poet and the Film."* In the first place, I am not quite sure what he means by the word "poet." In one context it seems to have its original sense of "maker ': or creative artist in general; in another it seemes to be confined to those who compose verse. This ambiguity has an important effect on Mr. Read's conclusion, "The film of imagination . . . will not come until the poet enters the studio." If he uses the word "poet':
* Cinema Qjwrterly, Summer 1933.
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