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Il6 CELLULOID
temporal limits of the theatre, instead of pursuing the scientific methods of cutting initiated by the Soviets. As far as Die Dreigroschenoper is concerned, the moving camera is noteworthy in that it is used not so much for economic reasons as for its assistance in establishing the relationship of the characters with their environment. Pabst is far too skilled in cinematic sense to allow mere convenience of camera mobility to interfere with his fine expression of mood. This film abounds with instances of his uncanny instinct for selection of camera angles, particularly when several characters are grouped together. In addition to which, he employs his favourite method of making every cut from one shot to another on a movement, so that the eye of the spectator is carried smoothly from image to image, aided by the sound. This style of cutting will be remembered in Jeanne Ney and in Crisis, both significant pictures in Pabst's career.
In each of his earlier films, it will be recalled that Pabst has displayed an interest in the mental and physical make-up of his feminine players, with the result that he has often brought to the screen women who have been unusually attractive in a bizarre, neurotic manner, very different from the brilliantly turned out, sophisticated but stereotyped women of American pictures, or the dreary young ladies favoured by British directors. Pabst is one of the few directors in the whole film business who has any understanding of women. Whatever part they are required to play, or whatever clothes they wear, the women in Pabst's