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[Courtesy of the National Film Library A scene in the Albert Hall from " The Man Who Knew Too Much.'*
there with a double purpose. The words of the chorale being performed included the phrase " Save the Child," which was an ingenious underlining of the second motif which was in her mind, though not in the visible action. Hitchcock made a variety of shots, and the author had the task of piecing them together, using the music as a framework.
A similar occasion had arisen during the making of " A Spy in Black," a good film made by Michael Powell in 1938. A German " U " Boat, with Conrad Veidt as Captain, was making its way through a minefield outside the Orkneys. The quality of suspense was very necessary, so a few chart inserts were shot, some underwater submarine shots were found, and a delightful couple of days were spent working up a sequence.
Conveying Atmosphere
Normally a little thought and care soon would reveal what was, within limits, the only way to cut a scene. A film should have an integrity of its own, and continual re-cutting of a scene was the rare exception rather than the rule.
The incompetent director over-covered to secure against not having enough close-ups, or to be able to make a cut if the scene were too long. But the competent director might, by panning and tracking his camera, and moving his artists about, achieve in one shot what would otherwise be done in several set-ups cut together.
In " I^es Enfants du Paradis " Marcel Carne had used with great brilliance various techniques in presenting his story. In the scene where Garance returned to the Count's house and met Lacenaire again, there were very few cuts ; the movements of the camera and the actors emphasised the dramatic points and caught the mood of reminiscence. In the subsequent scene between Lacenaire and the Count, both men stood quite still, and the >nism between them was suggested by the sharpness of the crosscutting.