Celluloid : the film to-day (1931)

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l68 CELLULOID Cimarron has to its credit one dominant factor — the movement of its opening passages. These, together with the shooting of " The Kid," are its principal claims to remembrance. While this pace of material is particularly welcome in these days of static dialogue films, it is, nevertheless, but a shadow of the greatness which Cimarron might have possessed had it been the product of real cinematic construction and of a pioneer courage for new ideals in entertainment value. Cimarron^ like Trader Horn and other spectacular gestures, fails because of its producers' loathing to come to hard grips with the real problems of the cinema.