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l62 THE CINEMA
Glazastikov!
This is no play on words. It is a perfect characterization of the true nature of the owner of those unblinking eyes, of this Argus who guards the rows of mines under our feet from sparks, from unnecessary jolting, from detonation...
It would take months to unload the mines, and we have only two weeks to go if we are to finish the film by the anniversary.
But ' no obstacles exists for the Russians ' : the revolt was shot!
Not in vain did the mines in the belly of the old cruiser turn and shake at the reverberation of the historic events that were being re-enacted on the decks.
Something of their latent power was imparted to the swift-moving cruiser on the screen.
The screen image of the old rebel caused great consternation among censors, police and police pickets in many countries of Europe.
No less was the shock it gave to the very foundations of cinematographic aesthetics.
Spectators are always interested not only in the real participants in the events portrayed, but also in the participants in the film as such.
Here are a few facts about some of them.
One of the very important characters in the plot is the doctor.
We looked long and unsuccessfully for somebody to fill the role. Finally our choice settled on an actor little suited for it.
Cameramen, I, and the ill-fitted candidate for the role are on a small cutter heading for the cruiser Comintern where the episode with the maggoty meat is to be shot.
I am sitting, annoyed, at the other end of the cutter as far