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ject lacked assertion, fullness and culmination. The analogy demanded the speculative mind, such as Epstein exercises upon phenomena, but so far as I was able to detect, this speculative metaphysical mind is not yet a portion of the Dutch film attitude, nor am I sure that the Dutch mind enjovs such' effete practices as Epstein employs. Finis Terrae, I was told in Amsterdam, is a wretched film, and all that is good in it is here and there a physical device. Yet Finis Terrae should have meant something to the Dutch practicians as a study in the utilization of natural tempers and in the exploitation of native types. They might even avoid Epstein's speculative treatment to see his structural employment of bodily parts. I think it would be well for the Dutch cinematists to remain concerned with the physical evidences of folk. They have at hand a rich source in their graphic art. They should go, not necessarily to their greatest artists (though Rembrandt can teach every cinematist much about tones) but to those of their artist, or Flemish or German artists, who have remained most folkish : an Abel Grimmer, for instance. Or for grander employments of folk activities to the paintings of the Brueghels and to Bosch — these are full of the kinetic. The galleries in Antwerp, Brussels and Amsterdam are replete with sources. I refer this examination to the cinematists of Belgium too. In Antw^erp, the Flemish Cinema Club has produced a film Leentje van de Zee (Peggy of the Sea), which I went to view thinking here might be the rudiments of a folk-film, if not a realized folk-film. The Dutch film Breakers possessed a dignity and seriousness of effort. But this film of amateurs with its ancient story of childhood love, the drunkard foe, the false accusation of
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