Celluloid : the film to-day (1931)

EARTH 151 believes every person is capable of playing at least one part for the screen — that of his or her individual character. To contradict this, however, I note that the actor Nicolas Nademski plays both in Earth and in Zvenigord) his performance in the latter being distinguished by his clever make-up as an old man, an artificiality that surely opposes the creed of naturalism ? These remarks on Dovjenko as a film director would be incomplete if I neglected to stress his wonderful ability to create mood by the relationship of visual images. No words of mine can describe the amazing spirit of youth and vigour with which he contrives to imbue the scenes of Vassily and the tractor. I am unable to express the gaiety with which he surrounds the girls as they bind the corn, any more than I can capture the magic of the fruit scenes with their sun and rain or the rising mists from the river. Perhaps it is because Dovjenko is seeing with an artist's mind and setting down the truth of what he sees aloof from any false ideas of entertainment value. Perhaps it is because of his passionate love for the soil, for the fertility and for the beauty of his native Ukraine. Perhaps it is because his marvellous rhythm of emotions runs through man, beast, and land alike. Perhaps because he combines the inspiration of a poet with a rare genius for photography. Whatever hidden quality it may be, there can be no question that Dovjenko takes his place beside the creative geniuses of the film. Even in such a prolific medium as the cinema it is seldom we see such an emotional and well-made film as Earth , especially one with such a perfect blending of creative impulse, technical accom