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210 CELLULOID
purposes. I have no doubt in my own mind that this film would be gready improved by the elimination of all dialogue between Horn, Peru, Nina and Mrs. Trend. If, by so doing, there is no story remaining, then Trader Horn could not have been suitable for a film in the first place.
Of the players not a great deal need be said, for their work is overshadowed by the presence of the animals, the trees, the rivers and the clouds. I like the natural casualness of Harry Carey as Aloysius Horn. He is convincing in the role of one entirely familiar with the dangers and beauties of Africa because he makes no attempt to act. As a result of many years' experience of playing before the camera, Carey is able to behave as he would if the camera were absent. His gestures and expressions are commonplace and hence eminently suitable for screen purposes. It is all the more unfortunate, therefore, that Duncan Renaldo, practically a newcomer save for taking Esteban in The Bridge of San Luis Rey, is theatrical and amateurish as the nit-wit Peru. Admittedly, the part is that of a tenderfoot and a greenhorn and it is in his role to feign surprise at elephants and rhinoceroses, but all the same I find it hard to believe that such a brainless and completely imbecile young man as Peru can exist. And even if he does, why waste valuable screen space on him?
Whilst Trader Horn was being shown at the London Empire, a volume of abuse was raised in the Press against the presence of Edwina Booth as the White Goddess. In many respects I agree, especially in regard to the ridiculous manner in which she retains