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THE REVIVAL OF NATURALISM 219
thoughts and emotions of his characters by their visually expressive external actions, he studies their behaviour. By psychological observation, the film director employs every gesture to reveal and build up the personality of his characters. This is common cinematic knowledge, especially to any student who has made a close study of the work of Georgi Pabst.
Zola penetrated every stratum of humanity. His novels are crowded with natural and unnatural types, each the product of their environment. Murderers, drunkards, saints, lechers, whores, bourgeois, soldiers, statesmen, shopkeepers, workers. Good, bad, stupid, imbecile, sensible, intelligent, malicious, angelic. Above all, he knew the lower-classes, the masses, the multitude, the proletariat. Gross, quarrelling, sweaty, sordid, honest, thrifty, bare-fisted, bestial, often unintelligent, and oppressed. Always oppressed. He had in his youth known poverty, hunger, squalor, depression, as indeed is usual with every true artist. We read of his attitude towards such living in " Le Ventre de Paris," where Lantier speaks of life as an eternal warfare between the Fat and the Thin. Always are the Fat the contented shopkeepers, the bourgeois, the pillars of society; the Thin are the oppressed, glowering with hunger, hatred or revolt, scheming for the downfall of their superiors. One recalls New Babylon and many another Soviet film. And Zola presented all this with such " unshrinking observation, truth and Naturalism " to call forth Ferdinand Brunetiere's attack ..." in his brutal style, his repulsive and ignoble preoccupations, he has gone further than all other realists. Is Humanity