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l6o THE CINEMA
The cruiser hugs the shore, he's in line with it.
But the 'drama on the poop' took place in the open sea.
There is no 'shooting' the cruiser either from fore or side without the overhanging dark cliffs intruding into the background.
However, the eagle eye of assistant-director Lesha Kriukov, who discovered this iron veteran in the bends of the Sevastopol roadstead, has discerned a way to overcome this difficulty as well.
With one turn of its mighty carcass through an angle of ninety degrees, the ship takes its stance perpendicular to the shore ; in this position when shot from the nose it comes out in the opening between the cliffs, and is outlined in all its breadth against the unmarred background of the sky!*
And the impression is that of a cruiser in open sea.
Frightened seagulls, who have come to regard this as their mountain retreat, suddenly take to the air. Their flight strengthens the illusion.
The iron whale begins to move in the startled silence.
By special order of the command of the Black Sea Fleet the iron giant is again turned nose to sea, for the last time now.
You can almost hear him draw a deep breath of the briny air of the open sea through his nostrils, after the musty smell of the seaweed-strewn coast.
The mines slumbering in his belly may not have noticed the heavy body making its smooth turn. But the knocking of the hammers must have disturbed their sleep. That is a plywood top being reconstructed on the deck of the real cruiser.
Using old drawings preserved in the Admiralty, an exact
* There is, too, a side view of the armoured cruiser ... but this was shot in the wide expanses of the Sandunovsky bath-house in Moscow. The little grey model of the cruiser rocked on the warm water of the | bath-house swimming pool.