Celluloid : the film to-day (1931)

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106 CELLULOID American talking film into the English market that few of us have had the opportunity to see what the Germans and French are doing with the sound film. Although a few French pictures in their native tongue have been given a showing in London, of which Clair's he Million and Sous les toils de Paris have been both the most interesting and the most popular, only a few German sound films have been shown in England up till the time of writing, and these to societies or at private demonstrations to the trade. There have been several English versions of German-produced pictures, of course, such as Uckicki's delightful Hocus-Pocus (renamed The Temporary Widow) and The Immortal Vagabond, Bernhardt's The Last Company, Fanck's Storm Over Mont Blanc (renamed Avalanche), and the Sternberg and Pommer production, The Blue Angel, but none of these is to be considered as a fair example of Germany's attack on the sound film, because of such handicaps as English casts, doubled voices and post-synchronized casting. Strictly speaking, I have only seen three German sound films in their original form in London — Pabst's Die Dreigroschenoper, Thiele's Drei von der Tan\stelle, and Otzep's Der M or der Dimitri Karazamov — all of which I regard as exceptionally good pieces of workmanship. The Pabst film has been chosen for inclusion among diese reviews principally because it follows the tradition of the big middle-period of the German cinema, and secondly because it is the most recent work of a director who, in my opinion, is one of the five most interesting cinematic minds of the century. I have yet to see a film directed by Pabst which does not