Celluloid : the film to-day (1931)

Page scan 000161 from Celluloid : the film to-day

Record Details:

Title:
Celluloid : the film to-day
Date:
1931
Publisher:
London : Longmans, Green and Co.
Volume:
Celluloid : the film to-day
Leaf #:
000161
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
June 20, 2024
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THE THREEPENNY OPERA II9 creative mentality of Pabst that combines the thrills of a crook drama with the light melodious atmosphere of an eighteenth-century operetta. Whilst the plot is essentially one of wit and humour, nevertheless we feel through it all a sense of drama. It is a supreme genius of cinematic art that can bring out the subtleties of the situations, envelop the whole delightful extravaganza in charm, and still preserve a touch of dramatic feeling. The direction of Pabst grows on one and becomes curiously fascinating. Like City Lights, The Threepenny Opera is at its best when seen for a second time. With Pabst as the main creator, the music of Weill, the photography of Wagner, and the settings of Andreiev, Die Dreigroschenoper assumes an air of vitality unprecedented in sound films of this genre. It has parallels, perhaps, in Clair's he Million, Thiele's Drei von der Tanhjtelle and Lubitsch's Monte Carlo, but admits nothing superior. It is possible that the film was more enjoyable to me because I am not widely acquainted with the German language and consequently treated the dialogue as sound in accompaniment to visual images, a point which still further endorses my argument that the literary use of words is detrimental to the cinema. But quite the funniest thing about this film is that it is forbidden in France because it might offend the susceptibility of the British people in its burlesque on a royal procession.