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retired for some weeks to the cutting room. He told me there are two thousand cuts in the entire fihn. As I saw it one was not conscious of any. ^^^len I said this he explained his method. "Every cut is made on some movement. At the end of one cut somebody is moving, at the beginning of the adjoining one the movement is continued. The eye is thus so occupied in following these movements that it misses the cuts. Of course, he added, "this was ver\' difficult to do.'*
Contrast this method with the crude and utterly unapoloe:etic cutting: of nearlv all the films vou see. But what will happen to tliis work of art when censors, renters and others start chopping it up ? The principle will be Hke trimming the edge off rose petals with scissors to improve the shape.
But, as I saw the film, it was flawless. Lighting, photography (by Wagner who photographed Warning Shadon's and now photographs the new Fritz Lang picture) were so suave and unstunted you might not be aware of their excellence (unless you were "in the know'") — which is the way of perfection. It was a completely individual work. One mind had conceived it, dominated it, and created it. Contrast, again, this impression with the loose and scattered feehng of the American films. ]\Ieanwhile let us acclaim Pabst as a genius, and you who want to see this film, help as much as you can by asking for it at your cinema. It was released in Germany in mid November. (I wonder how much they cut it there ?) If we do not cry out for it it may he in Wardour Street forever. Remember, Die Liele Der Jeanne Xey, an V F A film.
K. M.
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