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dialogue. This in a French film would seem to be an example of heroic restraint, but here the restraint is not merely heroic. It is intelligent and apt. The theme — that of a husband physically incapacitated by a motor accident on his honeymoon — invites the use of symbolism, and symbolism is very deftly introduced. The film opens well with a clever suggestion of travel, and is continuously interesting to the end. Look out in particular for the admirably handled cabaret scene. As a whole the film lacks the consistent grip of Crime Without Passion, and is rather untidy in its tempo. A little tightening up in this respect would have made it a first-class film. Greville has made an auspicious debut, and is a director to be watched.
Refugees proves that, despite the exodus of so much talent from the German studios, the UFA company can still produce an entirely admirable film. Certain aspects of the film may be unpopular — the remarkable resemblance of the hero (Hans Albers) to Captain Goering, propaganda for the Nazi regime, and satire on the League of Nations — but there is no doubt about the quality of the film as a film. It bears the stamp of the German cinema at its best. The direction is by Gustav Ucicky, who directed Morgenrot, and the camera work is by Fritz Arno Wagner, who photographed many of Pabst's films, notably The Loves of Jeanne Ney.
From Czecho-Slovakia we have had Reka. This is a simple, wholly charming film, told deliberately, with a wealth of beautifully photographed scenery. It is a typical example of the sort of film we are now getting from the Continent — good, pleasant entertainment, with no particular aspect outstanding. It poses no special problem, introduces no significant devices in the way of sound, photography, direction or general treatment. But it is all very agreeable and has not the blatancy of the average Hollywood production, or the nullity of the average British production.
The eagerly awaited Maskerade has been presented at the Academy. Reports state that it has been a great success on the Continent, particularly in Paris and Berlin. It will deservedly repeat that success in England wherever foreign films are shown. Outwardly it is just another frivolous story of amorous intrigue in a Viennese theatrical-military-artistic setting. A lively lady is sketched clothed solely in a mask and a muff. The sketch is accidentally published, and complications follow. In the middle of the film the artist is shot, and thereafter the characters, previously stereotyped, become flesh and blood people, excellently observed. The film, moving in another dramatic plane, loses none of its essential charm, and proceeds smoothly to an appropriate ending. Perhaps the most attractive thing about the film is that, although it has a light, superficial story, the people in it are, on the whole, surprisingly real. Paula
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