Celluloid : the film to-day (1931)

TRADER HORN 209 thrilling as possible. This is not constructive editing nor will such piece-meal patching ever be really effective. As I have said earlier, it is a splendid test case for the efficiency of American laboratory mechanism. It is a pity they cannot do as well with their optical printer at Elstree. To summarize, the direction of Van Dyke in this film means practically nothing, certainly no more than was evident from The Pagan, White Shadows, and from his earlier Westerns such as Hearts and Spurs and Ranger of the Big Pines ; the editing reckoned as such means even less; and the photography, for the most part adequate, in places reaches a hard, academic brilliance. There can be no denial that sound adds very gready to the appeal of this film. Not that it is brought into play writh any imagination or creative intent, but that simple straightforward recording increases the visual attraction of the African environment. It is thrilling to watch a rhinoceros racing along through the short grass, but it is obvious that if we can hear its padding hooves as well, then our seats have been well worth two-and-fourpence, even if the screen is so distorted that it would have brought a flush of pleasure to the cheeks of El Greco. Not having been to Africa, I do not know whether crocodiles make noises like they do in Trader Horn, but it sounds convincing. The curious rhythmic singing of the native warriors (calling for the rhythmic cutting which was not forthcoming) and the speeches of the black warlords prove beyond question that sound, in this case unintelligible speech, is superior to the dialogue employed for explanatory