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TRADER HORN I97
which is introduced into open-air pictures, but at the same time I am grateful for what small relief they offer from the faked settings of the Elstree and Hollywood studios.
The wide appeal of the love story-cum-plein air film was probably initiated by the success of James Cruze's The Covered Wagon in 1923. This, as John Grierson has pointed out, was begun as a common Western, but finished as a new type of picture. It was different from what had gone before because it was taken against a real background. The great trek was made by real people over real desert and real rivers. The film was an attempt at a faithful reconstruction of a past event. It showed real people doing real things in real surroundings. It brought reality to the screen instead of mock-realism.
Always quick to benefit by example, America gave a good deal of thought to this idea of combining a box-office story with natural material, with the result that there duly appeared further successes constructed on this apparently sure-fire formula, such as Down to the Sea in Ships, Wings, The Four Feathers, and White Shadows in the South Seas. On the other hand, there are occasions when the recipe has been pushed to extreme lengths, as in the recently made The Big Trail, which attempted to incorporate every box-office quality perceptible in The Covered Wagon, magnified to a hundredth degree of showmanship, with the speech and sound effects rendered possible by present-day recording.
Much the same sort of thing was responsible for Paramount's oddity The Four Feathers, which was a