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TRADER HORN 1 99
at Culver City, California, or thereabouts. For although they expended very considerable sums of money on transporting sound trucks, lights and generators as well as an army of technicians to Africa, the executives of Metro-Gold wyn-Mayer were obviously going to take no chances on the success of Trader Horn. They had too much picture-sense, for instance, to believe that the mere sight of African scenery, natives and animals would be of sufficient interest to the public without a good popular love story, such as those which made The Pagan and White Shadows in the South Seas " colossal box-office smashers." If the heart of darkest Africa was to be brought to the screen at all, it must be properly harnessed and employed as a box-office magnet.
On the other hand, there is much in this film that is lovely, because it is impossible to take cameras to such a country as Africa and not to photograph beautiful material. The natural function of the camera cannot be suppressed. There are many glorious shots in Trader Horn : great fantastic clinging trees, deep roaring rivers, magnificent sweeps of sky splotched with billowing cumulus clouds— so lovely when photographed through filters and on panchromatic stock that I have heard the opinion expressed that all sense of reality is missing, and that at times the photography of Trader Horn creates a world of its own.
In passing, I would call attention to the paradox that beautiful photography can be a definite menace to a picture. So much does a film's power of expression rely on the movement and space relating image