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CELLULOID
microphone. In Le Million this technique is carried still further and the sound performs the duty of a connecting link between each shot and each sequence,/
To a certain extent Lubitsch incorporated the music of Monte Carlo with the progression of visual images, as in the scene of Jeannette MacDonald and the railway train, yet this was but clever workmanship when compared with Clair's delicate welding together of sound and pictorial image. Behind every sequence of Le Million there runs a commentary of music, acting either as a barrier between the screen and silence or coming forward to take part in the screen's expression. As the amusing shopkeepers and concierges follow Michel up and down the flights of stairs in the studio building, they burst into lyrical strains descriptive of their exalted spirits, interpolating a menacing " Voleurl " every now and again to remind us of their serious intentions.
Unseen choirs add emphasis to the scrimmage for the elusive coat on the stage, while a super-symphony of Parisian taxi-horns greets pursuers and pursued as they issue from the Opera-Lyrique. When Signor Sopranelli is buying the famous coat he bursts into vibrating operatics to such an extent that chandeliers crash to the ground and the revolvers of the crooks beat time to his rhythmic oratorio. From the opening revel in Michel's studio to the similar concluding shot, music and sound are employed throughout to carry the film forward on its triumphant flight.
It would be mere foolishness, however, to pretend that Le Million contains no faults. On the contrary, there is one device in the picture which in my opinion