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EARTH 145
that we are unconscious of the means employed. The touches of mysticism, the deep feeling of soil, the sensitivity to all that is lovely, are so new to the art of the cinema that for the moment we are dumbfounded. We are left with our minds satiated with pleasure, with a curious wonderment as to the birth and origin of what we have just seen.
Alexander Dovjenko is, or was, a painter, and his arrangement of pictorial composition and extremely delicate sense of beauty is apparent not only in Earth but in his earlier work. Both Zvenigora and Arsenal, the former a queer mystical fantasy of the changing ideas and strong belief in folk-lore in an Ukrainian village, and the latter an account of revolution in the Ukraine, revealed Dovjenko as one of the most interesting of the Soviet directors. In these two films his technical ability was not sufficiently developed to do justice to his breadth of vision, and, although fascinating by reason of their unique conception and use of contrasted static and moving images, they did not reach the high level attained by Earth. But despite their uneven qualities, they sufficed to show that Dovjenko would very soon develop into a cinematographer of exceptional genius, an expectation that has now been more than fulfilled in Earth.
An intense interest in the life and customs of the Ukrainian people is strongly indicated in all these three films, so much so that portions of Zvenigora which dealt with local poetic legend and traditional customs were quite incomprehensible, not only to Western