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rain and bare trees dripping, she comes face to face with Henning. They stand a long time in the swirl of wind and rain, then go straight to each others' arms. Presently she goes on again as before, leaving him. He stands there while she continues her way to the boat.
It is a simple scene, yet handled with such poignancy and sensitiveness one's hair literally stood on end, and it will stand on end quite frequently in the course of this film.
Another moment that emerges is after the church scene in Paris at night. The two lovers have gone with complete naturalness and disarming honesty to a cheap Montparnasse hotel. (Who but Pabst can paint in so surely and boldly these cheap and tawdry hostels ?) From their room they look down across the street at a wedding party going on. The contrast may be meant as a comment on marriage, but it fitted there with the stab of perfection ; a deft, intensely moving slight moment, yielding in some way, curious beauty, nervous and restrained and intensely spiritual. In the cold morning light, a glance toward that same window reveals the wreckage of the marriage feast. The amazing manner in which the impression that the happiness of these two was some swift and ephemeral thing, too swift perhaps, and too intense and too unconscious, was all the time conveyed, can be no secret of technique, but some profound, dynamic genius.
It is noteworthy how realism in the settings cemented the realism of the characterisation. It is noteworthy too, that realism in the settings never obtruded or took possession of the story, as it might have done say in the rain scene, but
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