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192 CELLULOID
has played a principal part in all Clair's films. In 1925, he realized that to make films on a proper scale a considerable amount of money is needed, and consequendy he accepted a contract from AlbatrossSequana, producing for them he Proie du Vent (released in England as Prey of the Wind), not especially interesting but nevertheless a step forward into production on a full-size basis. Two years later he made he Chapeau de Paille d'ltalie (The Italian Straw Hat), followed in turn by hes Deux Timides (Two Timid Souls), Sous les toits de Paris and he Million, the last two for the newly formed Films Sonores Tobis.
Throughout this series of films, Clair's wit and intimate sense of humour have developed with gradual intensity up till The Italian Straw Hat, which I believe to be a full expression of his subtle ability. In Sous les toits de Paris and he Million he has added sound to his battery of technical attributes and again exploited his love of slapstick, satire and fantasy. This latter quality is as inherent in Clair's direction as his satire, and is brought out by a parade of camera devices which are the result of early training. Probably there is more slapstick in he Million than in any of his other work, just as he Voyage Imaginaire was outstanding for its fantasy and Sous les toits de Paris for its charm.
His use of the chase, basis of all American slapstick, is predominant in he Million. Not only is the whole picture one long chase after the missing lottery ticket, but other chases — such as that by the detectives — are introduced to keep the action moving. Passages and corridors are the excuses for chases, and thus we