The cinema : 1952 (1952)

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THE TWELVE APOSTLES l6l replica of the old Potemkin is being reconstructed of laths, beams and ply-wood. This is almost a symbol of the film itself reconstruction of the past through the medium of art on the basis of true history. But not a single slip to the right or left. Not one centimetre to the side. Otherwise the illusion of open sea will be destroyed. Otherwise the grey cliffs will peep slyly into the lens. The rigid blinkers of space hold us in check. No less rigid are the blinkers of time. The rigid date-line set by the necessity for completing the picture by the anniversary day keeps one's thoughts from roaming. As chains and anchors keep the old carcass of the cruiser from lunging out into the sea. The chains of space and the anchors of the date-line keep the too eager imagination in check. Perhaps it is this that endows the film itself with such rigid restraint and makes it so tirfit-knit. Mines, mines, mines. Not without reason do they keep rolling out of my pen on to the paper. All the work is pervaded by the presence of mines. No smoking allowed. No running allowed. One is not even allowed to stay on deck without good reason ! Even more terrible than the mines themselves is their custodian, who has been especially attached to us. Comrade Glazastikov!* * Comrade All-eyes. F