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November, 1926 AMERICAN CINEMATOGRAPHER
Actual Motions —
Twenty-three
Now watch out for all the actual motions: The people on sidewalks going in opposite directions and in different tempos, the cars and street-cars going ahead of you and almost keeping their relative proportions, while those coming toward you are doubly growing, through their own effort and because of your approach . . . the cars at intersections going in different tempos in directions perpendicular to your own, or turning the corners and thus changing their directions by describing a quarter of a circle, perhaps a man disobeying the traffic rules and crossing the street diagonally, in the meantime rolling a spare tire . . . the policeman in the center of the crossing, revolving around his vertical axis, barberpoles doing a similar motion but without pause, an organ-grinder cranking the handle around its horizontal axis, a page of a newspaper, blown by the wind, going in unexpected directions and revolving around unexpected axes ... a door or a window opening or closing, a revolving hotel entrance, less cadenced than the traffic policeman and more varied than the barber-pole in the tempo of its motions, and above the street the smoke, the clouds and perhaps a bird, much freer and more graceful in its movements than the creeping things below.
If you are not dizzy, take a ride on the beach and you will behold many more motions: of the waves, boats, hydroplanes, swimmers, seagulls, and then those diabolical devices made for "amusement.1' If you have the nerve, take a ride on one of those unnamable three-dimensional curves and watch how the world will look to you. Why, the thing is symbolical of life itself, with its pleasant going-ups, its suicidial going-downs and the final: "Thank God, it's all over now" . . . Well, this should have been a great lesson in many ways.
(Continued Next Month)
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