Celluloid : the film to-day (1931)

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LE MILLION 195 Hat again, we should find plentiful evidence of this musical strain which we did not observe three or four years back. That these two sound films by Clair assume an important place in the development of the sound cinema goes without question, but at the same time there is a danger to overestimate their achievement. Both Sous les toils de Paris and he Million are very competent pieces of artistry, the work of a mind skilled in cinematic resources, and succeed in being extremely entertaining. Yet they are only two of the wave of film-operettas which have been produced since Europe attacked the problems of the sound cinema, and as yet we have not seen in England the films of other directors who are working along the same lines. When Thiele's he Bat and Drei von der Ta?i\stelle (Chemin du Paradis) and Bolvary's Zwei Herzen im J — Ta\t, all examples of the film-operetta, have been generally exhibited in England, we shall be better qualified to give Clair his true place in the sound cinema. I repeat that it is likely we shall one day rediscover the brilliance of Clair at its best in The Italian Straw Hat. N*