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236 CELLULOID
small boy sliding down the balusters, and the very clever scene of the little pop-eyed man with the telephone. Moreover, Lang's characteristic inventiveness of detail is apparent in such minor touches as the rolling bowler hat and the snipping of the flower-heads during the young millionaire's telephone conversation. In fact, the whole fabric out of which this film is woven is worthy of our admiration.
But Lang's actual rendering of this splendid material is quite uncinematic in texture. As we see these remarkably well-constructed incidents on the screen, we are aware that there is something disappointing about them. We do not experience that prickling feeling so indicative of thrilling emotions that we should experience.
Despite my profound respect for Lang's exceptionally brilliant faculties, I force myself to admit that his outlook fails to embrace the proper ideas of cinematic representation. From long experience, we are aware that such material as this, such well-contrived situations and such architectural features, are emotionally exciting in themselves. But at the same time we also know that it is not enough for the screen material (the settings, the characters, the grouping and the incidents) to be fauldess, for that is only the duty of a competent metteur-en-scene. These things are only the foundation. They are to be employed cinematically, and that is the obligation of a film director. Good as the material in The Woman in the Moon may be, the fact remains that according to the principles of cinematography, we demand that this material be presented to us in a cinematic manner, so that our excitement may