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blended in, not running even parallel, but inevitably intertwined. The Montparnasse scenes, for instance. Here, it is true, the camera and cameraman were hidden in a vegetable cart. But who thought out that lighted sign outside the Montparnasse hotel ? There is, too, a scene in a train. Pabst had for this a goods wagon built up as for the camera a third class compartment in order to be able to arrange distance and lighting, normally impossible in a railway coach. The effect of the passing countryside and the motion should be enough to put an end to studio "compartments" with canvas "scenery" going past on rollers.
It was clever of Pabst to be able to think out — yes, anybody might have thought of it, but who has ? — a Paris that is not the Paris of the Films, a place of Moulin-Rouge, cheap cabarets, carnival streamers, apache dancers and views of the Rue de Rivoli. Paris suddenly became real, Paris suddenly was Paris. It was almost a shock to reahse Paris could exist on the films.
Now, as to the making of this film, here is the answer to much criticism, and an example of the only way films can be made if they are not to be in the penny-plain category. There were fifty eight working days and Pabst was there for twelve to sixteen hours per day. Once they worked thirtysix hours on end without ceasing. Everybody had to be kept awake with strong drinks. It was not that they were behind schedule time, but that Pabst dominating, and driv
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