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STORY SHORTAGE CRISIS 33
vigorous stuff. The White Hell of Pitz Palu was exemplary of good cinema, as opposed to the falseness of the talking film, and it was received with open arms.
It is this obligation of the cinema to present reality in its proper surroundings — without mock-heroism and faked scenery — to present truth without distortion or exaggeration, but in such a manner that it will both entertain and interest, that the film producers ignore to-day. If the cinema is to prosper and continue to live as an industry, it is essential that material be given precedence over acting values and settings. This presentation of real people and real environments is the heart of the cinema. It is the life and blood of good film-making, and the sooner the moneyed sponsors of the trade realize it, the better the cinema will become. The merits of such a film as Schoedsack's Rango, not good in the sense that Moana and Finis Terrce were good, but still commendable, will reveal to any common-sense person how the actual material of this world can smash once and for all the trembling structure of the star-system and sophisticated sex-plots.
Every country in the five continents contains admirable material for the making of films, waiting for visual and sound treatment by the minds of creative directors. Practically nothing of any cinematic value has as yet been done with Africa, although there is inspiration enough in its peoples and customs for a thousand films. The great treks in the South, the magnificence of the Zulus, and the traditions of the Nile are but three rich sources of material. India is brimming over with landscape, architecture and legends which would provide the basis for a multitude of