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200 CELLULOID
to image, that isolated shots, predominating because of their photographic value, tend to destroy the smoothness of that vital relationship. Several instances occur when the images on the screen have been so stimulating pictorially that they have formed a barrier between the audience and the cinematic value (and hence the dramatic content) of the shot in question. Karl Dreyer's La Passion de Jeanne d'Arc is a standard example of this misfortune, whilst other films that have suffered a similar fate are Eisenstein's The General Line, Walter Creighton's Southern April, and E. A. Dupont's Cape Forlorn. I believe, also, that some of the material taken for Grierson's forthcoming Port of London was almost too lovely to be used, and I recall one shot of an Atlantic liner in dock in Harry d'Arrast's Laughter which was so perfect in composition and lighting that it stood aloof from its surrounding sequence, thereby causing disharmony.
To return to the acute picture-sense of the MetroGoldwyn-Mayer executive — they were not even satisfied to rely on the thrills obtained by Van Dyke and his cameramen in Africa. They decided that a little double-printing would achieve a more sensational atmosphere than was actually present when the shots were taken. In one of the scenes with the crocodiles, for instance, we see Horn and Peru in the foreground paddling their canoe for all they are worth, whilst immediately at their back, only a few feet away, an enormous crocodile runs along the bank of the river. If the truth were known, this shot as seen on the screen is composed of two separate shots, the one of the crocodile taken in Africa (although I am given to