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war atmosphere, cemented together by the reminiscent voice of Sir John Hammerton. Greta Garbo in The Painted Veil ran for two weeks at the Empire; Forgotten Men for twelve weeks at the Rialto.
R. J. MlNNEY.
DISNEY EXHIBITION
Technically, the recent Disney Exhibition at the Leicester Galleries, London, was a success. It was arranged in a simple and straightforward manner, and with such a wealth of detail that the spectator (with the exception of the young person) was given a complete idea of the manner in which Disney and his staff of three hundred workers manage to produce thirteen Mickey Mouse cartoons and thirteen Silly Symphonies annually. It was so comprehensive, in fact, that one was immediately struck with a sense of the ease and simplicity with which it could all be copied, given, of course, a certain standard of ability and the essential capital.
Artistically, however, the show was second-rate. In an adjoining room a number of modern French paintings were on view, and the contrast was illuminating and compelling. The paintings were alive and vivid and expressive of their age. They contained those qualities of form and rhythm, of colour and design with which the contemporary artist captures his meaning. They impinged on one's consciousness, so to speak, and challenged one's acceptances. Disney, with his clever box of conjuring tricks, could produce nothing with half so much vitality. His language is the language of another plane of thought and imagination.
Pictorially speaking, the whole point of the Disney show lay in this very opportune experiment in comparison. The animated cartoon, without a doubt, is still only in its rudimentary stages, although it is capable of developing into a vital branch of cinematic art, given the necessary will and power of direction. It is a first-rate medium for the special qualities of the painter, apart from the mere dexterous handling of mechanism.
We all recognize and appreciate the humanity and life of Mickey Mouse. It must be borne in upon the inelastic brains of our film producers that the animated cartoon, as a special branch of cinema, has come to stay, that the people, as a whole, are enthusiastic about it, and that, given the necessary stimulus, it can yet reach unimagined heights of artistry and meaning.
Disney's technique has almost reached the apex of its power. He continues to give us something which is clever and funny, decorative,
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