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CkBut my biggest cinema job since leaving Russia has been my scenario of Anna Karenina; Pathe-Xathan have bought it, and Ozep, the producer of the Brothers Karamazov, will start on it in the spring, as soon as he is finished with Zweig's Amok. They are talking of Lil Dagover or Yvonne Printemps for the title-role. I admit that the holy shade of Tolstoy was an awful bother. You see, in turning tinnovel into a film I simply had to cut out all the non-visual matter, and, naturally, Levin, the Tolstoyan hero with his grasshoppn philosophizing, had to be thrown overboard at once. I limited myself to the Karenin-Yronsky triangle. The dialogue had to be cut out, for both the dialogue and the psychology had to be translated into cinematic terms. The thing had to be visual and dynamic. The method of flash-presentation instead of narrative exposition was the method that you will find in all my books; so the medium was familiar enough to me. The dialogue is, naturally, also reduced t< > bare essentials, to mere significant flashes. There is one thing, how ever, which will infuriate the literary fetishists. There is plenty of movement — continuous movement — in the film; the visual material is good : and a good job will be made of the race-course, in particular. But you will remember that shortly after Anna's first meeting with Vronsky there is a lapse of one year, at the end of which he becomes her lover. That one year's courtship is not described in Tolstoy. Cinematically, you cannot convey the lapse of a whole year; and to convey this passage of time I inserted a number of flashlight episodes, showing the progress of Yronsky's courtship. I know they will cry sacrilege. But what can you do? On the screen things have to be shown, not told. In a way, all my literary work has been cinematic; I never explained; I always showed and suggested.
"And, after all," Zamiatin concluded, with a twinkle of selfsatisfaction, "you know where Soviet cinema learned its method and its basic idea. Was it not from the flashily obscure Soviet bo« of the early twenties? Quorum pars magna fui."
Paris, December 1933.
"ZERO DE CONDUITE"
Jean Vigo's film, £ero de Conduite, which has been attacked by the French censors, is an exposure of life in a provincial boarding school. The heroes are delicate children badly handled by greedy tyrants. Finally the boys rebel, and the mutiny gives the film much of its excitement and action. The film is a courageous and outspoke independent production in which Yigo had as his collaborators the Belgian cineaste Henri Storck, the composer Maurice Jaubert, and the photographers Boris Kaufman and Louis Berger. L. P.
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