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Il8 CELLULOID
well to give it thought. The day of the star and her physical glamour must assuredly come to an end, to be replaced by the more direct appeal of an actress's personality and intelligence. It is significant that Marlene Dietrich has built for herself a reputation solely upon the strength of her playing in The Blue Angel, hardly a sympathetic role, and that Greta Garbo's fascination lies really in her potential intelligence. I say potential because as far as I am aware, Miss Garbo has not yet had an opportunity to play a suitable part. British producers maintain that sexappeal creates the star, and that unless an actress can make every man in the audience wish to sleep with her she is incapable of star-magnitude. That this attitude is wrong and incidentally extremely harmful is obvious to any intelligently-thinking person, but unfortunately nothing is done to counteract it.
Under Pabst's direction all the cast of Die Dreigroschenoper play with an exquisite charm and purposeful deliberation of gesture to correspond with the fantasy of the plot. Rudolf Forster makes an engaging Mackie Messer in grey bowler-hat and canaryyellow gloves; Carola Neher is immensely attractive as Polly; Fritz Rasp and Valeska Gert, familiar to all followers of the German cinema, bring experience and humour to Mr. and Mrs. Peachum; whilst those who remember the genial Communist attache in Jeanne Ney will delight once more in Vladimir Sokolov as Schmidt the Gaoler.
Good as the poised acting may be, it is the direction of this film that causes its cynical drollery and sinister melodrama to be so effective. It is the controlling,