Close Up (Mar-Dec 1933)

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CLOSE UP 37 HI A KMrghiz flute-player watches the city groicing out of the steppe. From " Komsomol." Un joueur de flute kirghize contemple la naissance d'une cite dans la steppe. Du film " Komsomol." Ein kirgisischer Flotenspieler sieht zu, wie die Stadt aus der Steppe ivachst. Aits " Komsomol." deserted by von Sternberg", but which Milestone enlivened in The Front Page. His last films show Le Roy's indebtedness to Milestone, but he has not the older man's proficiency in timing. If the talkie has damaged anything in the American idiom, it is its metric. I do not lament this disturbance for it serves to break up the confounding of time with speed-uninterrupted action. In / am a Fugitive Le Roy shows skill in the alternations of speech and silence, but he fails to convev lapse of time, despite his use of the archaic calendar-leaves (an archaism improved somewhat bv the coincidence of hammer-beat) and distance (which must be conveyed conjointly by space of time) by means of an inanimate, inexpressive map. Le Roy exhibits the Milestone weakness in his direction of women ; he was successful with Aline MacMahon in Five-Star Final because she is a superior player with a masculine emphasis (her roles are " hard "). The young director was more successful in the sensational or spectacular scenes (although the second escape was, in its scenario, quite routine), and less successful in the scenes awav from prison — as in the period of the fugitive's rise to success. This attests to the immaturity not alone of Le Roy, but also of the American movie-mind. Le Roy's faults are as much environmental as personal. They