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THE EUROPEAN CINEMA
and is making a film about the Slav peoples, shooting in Poland, Yugoslavia, Bulgaria and Czechoslovakia. He is without question the most-travelled and internationallyminded of all documentary film-makers.
As is well-known, Helen Van Dongen has edited all of Ivens's films, except the most recent ; they worked on equal terms as joint creators, a collaboration which has been one of the most fruitful in film history but which has tended to obscure Helen Van Dongen's own quite distinct talent. That talent came into its own with the two war-record films, Russians at War (1943) and News Reviezv No. 2 (produced for the Office of War Information) of which she was producer as well as editor. These two films can be set against the Capra Why We Fight newsreel compilations on the one hand, and the Rotha argument films on the other, to indicate a third possible use of compiled material. Russians at War was a description of behind-the-lines activities in the vast Russian arena; News Review No. 2 was an even vaster account of fighting on all fronts round the world during two years of war. Both had the function of expressing the unity of the struggle for all participants however distant from one another. This binding together of human beings in a common enterprise was achieved almost without the aid of commentary, which was in both cases negligible and important only for identification of places and events. The factor governing the editing was the content of the shot; Helen Van Dongen sought through her material for examples of human behaviour which expressed similar feelings and derived from the same springs of action. This was not thematic illustration in the manner of Ruttmann's Melody of the World. The theme arose wordlessly out of the material as edited. Helen Van Dongen's subsequent association with Robert Flaherty, as editor of The Land (1941) and associate-producer and editor on his new film Louisiana Story, has been a happy and fortunate one for them both. But it is to be hoped that she will find opportunity to resume the production of compiled films. No one at work to-day observes more subtly
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