Celluloid : the film to-day (1931)

EARTH 137 bad, with the result that many students of the cinema, who have been unable to judge for themselves, have placed a much greater value on the general methods of Russian production than was necessary. Thirdly, owing to this legend of the unvarying greatness of Soviet films, the growing film society movement throughout the country has demanded to see the socalled masterpieces, and has as a consequence met with opposition from local watch-committees, magistrates or council authorities, who on their side have been guided by staunch ideas of Victorian patriotism and a reasonable distaste for Communist beliefs. Fourthly, the Russians themselves, not slow to turn the position to their own advantage, have by devious methods introduced many of their films into London, and have indirectly encouraged the setting up of film societies in big industrial centres where these pictures, under the guise of artistry, were likely to have the most effect on working class audiences. Were the circumstances to be examined, it would probably be found that the rental cost of Russian pictures to societies in such fruitful neighbourhoods is much lower than it is to the more select societies which profess a serious interest in cinematic art. This, briefly, is the state of affairs that is encountered every time we, who are serious, may wish to see a new Soviet film. To add to the conflagration, the lay Press considers that the matter has quite a notable news value, and it is common to find voluminous correspondence on the pros and cons of Russian films in our daily newspaper. Under such conditions it is inevitable that the sheep should suffer with the goats, and that to see such a