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TRADER HORN 201
understand that crocodiles of such size do not exist, and that this creature was probably a South American alligator transported to Hollywood) and the other shot of the trader and his gallant young friend certainly taken in a studio. But by a process of doubleprinting, we, the public, are lured into believing that the shot was strictly true in its thrill. I am not blaming Metro-Goldwyn-Mayer for achieving a physiological thrill in this way — although I resent the trickery — but it was unfortunate that the photography of the two different shots was not matched up more carefully and the fake rendered a little more convincing.
Thus we arrive at some sort of an idea of the motives underlying the making of Trader Horn, and can estimate how much value may be placed on its claim to be an epic film of the Dark Continent and a landmark in the development of the cinema. In my opinion the chief value of Trader Horn, after making exception for some of its photography, lies in its revelation of the efficiency of the up-to-date laboratory mechanism of the Metro-Goldwyn-Mayer studios, and of the advantages of the Dunning Process.
Some years ago — 1920 or thereabouts — a film was made in Africa of King Solomon s Mines, which, in spite of its imperfections of technique, came very near to achieving the spirit in which Sir Rider Haggard's famous novel was written. Although the story of Trader Horn purports to be adapted from the actual experiences of Aloysius Horn, it carries with it an