Close Up (Jul-Nov 1927)

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CLOSE UP much the thing seen externally, but impressions, the galloping legs of horses, the freize of white rearing horse heads, the blur of chariots following in the close ups, that is the line to take, that is what I mean about this long corridor, I want to get the impression, the feeling one would have as that figure hurries stooping. And tottering along that cox^ridor, then rigidly across a long room, (not an ornate room, an impressionistic room I think,) rigidly as though people might be watching from galleries, galleries must be suggested in the room, and pillars of gaunt stone in the corridor, overlapping so you cannot see between them, or. . . .the camera is to hurry along beside the figure so there will be glimpses through pillars, perhaps rain beyond, not a vista. . . .the camera can skirt round and swivel, get the hurrying figure from side and front, hurrying and swerving with the figure Oh it's Lya de Putti Well now, this is better, yes, yes, what a difference, what is it about the movie ? There is some definite hypnotism, something with the changing forms and regroupings, it is a sort of abstraction, t he elimination of colour IS ^definitely something to do with it, I do know they do this sort of thing so eificiently and so badly, the acting is so bad, and I often wonder how it came about that people go to a show and are impressed and moved by situations and tomfoolery that if they met in real hfe they would call incipient insanity. Yes, well I am getting something, I know it's lovely, Greta Garbo in a frame with glass, and light flung across my eyes. I wonder if all the cigarette trays screwed on all these 59