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THE CREATIVE CINEMA 75
and Drei von der Tankjtelle {Chemin du Paradis). In France, we find Edmond Greville employing a dual sound and sight technique that has distinct affinity to the silent technique of the Russians. In England, Asquith put forward some intelligent scenes in Tell England, while shot-cutting was adopted in a cleverclever manner in pictures like Hitchcock's Murder and The Skin Game. Yet the belief still persists in the trade that the Soviet principles of technique are essentially high-hat, and have been evolved along lines quite unsuited to European and American entertainment production. In actuality, the Soviet cinema is first and last the medium of the people and is essentially universal in its constructive methods.
That the use of speech is gradually spelling paralysis to the popularity of the cinema is surely not difficult to observe. American cinema audiences are said to be drifting towards the legitimate theatre now that films no longer show them the things they want to see. With its pursuit of the spoken word, cinema has ceased to fulfil its proper obligations and has instead given new life to the flesh-and-blood appeal of the stage. In time it will be realized what was obvious as soon as the first talking film was produced — that the sound of objects and things must be considered as entirely different from that of the human voice.
It is of point, I think, to analyse our reactions when we see and hear a dialogue film spoken in a language with which we are unfamiliar. At once the speech becomes sound and loses its literary value, leaving our mind free to follow the movements of the screen material, just as Arabic or Persian writing appeals to us