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and, on occasion, sinister ; but he is not nearly within reach of his maturity as an artist. His imagination will have to expand, and his mind to grow, before he can yet produce an all-round, satisfying work of art.
It may be contended, with reason, that the majority of people prefer Mickey as he is, devoid of the artistic trappings which might detract from his naturalism. There is no earthly reason, apart from priggish presumption, why they should be deprived of the antics of the little fellow. He is cute and very winning, full of unexpected tricks, and able to play with the stabilities of life in a manner which pleases their careworn sense of responsibility.
We hope, however, that there is nothing carping or superior, or savouring of boards and baggy trousers, in the suggestion that there is still tremendous delight and meaning to be had from the animated cartoon, when developed from its purely pictorical angle. We have, we think, a right to these adult artistic satisfactions so sadly catered for. Must it be inevitable that financial considerations should obtain a stranglehold on this, as on every other, branch of cinema?
In this country, of course, the animated cartoon has not even reached the lusty, infantile stage of Micky Mouse, but there is no lack of artistic material in the country. With the co-operation of a few artists and art-schools, under the imaginative control of someone with an understanding of the medium, and, of course, the indispensable technical advisers, something could be built up which would be a definite challenge to the artistic timidities of the commercial cinema. Mickey and his playful eccentricities would not be smothered under the stifling mantle of Highbrowism. From this specialized angle of the film, there is room for Mickey as for the wider visions and more imaginative conceptions of the painter and poet.
Arthur Shearsby.
NEW BOOKS
JEW SUSS (London, Methuen, 5s.) is the second of a series of scenarios which Ernest Betts is editing. It fulfils a useful purpose in showing the student what part the scenario actually plays in production, and by comparison with the original novel, what incidents in the book the adaptors considered most suitable for treatment on the screen. It is illustrated (though we could wish more fully) with stills and with sketches prepared by Alfred Junge for the decor.
MY OWN STORY. By Marie Dressier (London, Hurst & Blackett, 15s.) is the record of a fine actress with a great spirit and a sane philosophy. Much of the book is mere gossip, but there is also a great deal of shrewd wisdom, as, for instance, an old trouper's appeal
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