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A reply to Miss Marion Fitz-Simonds
Dear Sir,
Are we giving films a chance ? We seem to be very anxious nowadays to rush about and dogmatise. So it is little wonder when some of us apply our pre-conceived ideas and half-baked theories to the comparitively new Films.
All Films can be placed into two classes : Motional Design and Narrative Cinematography. The latter will eventually supercede the Stage as the leading form of Drama. It is technically superior, but artistically it will never exceed the best examples of the Stage. For if it did, it would trespass into the former division of Films : — Dynamic Art.
Only one purpose can be superior at one time — either the Emotional force or the Abstract idea.
The Abstract film, the Absolute film. What vast possibilities, what incomprehensible achievements may be attained with this new medium of expression. But we have few or no chances of seeing examples of Abstract films. The Film Society help a little, but as we only see each example once or twice, we cannot fairly form an opinion from such meagre experience.
That is my view of the Film : to you who are devoting to it a life's study, my opinions may seem a series of platitudes. However, allow me to reply to certain criticisms of a former letter.
The Film may unify the Muses, and the result may be like Dr. Johnson's w^alking dog. The greatest works of mankind are those created solely by the individual. Consequently, the greatest film — which will unify music, art and the Drama, as well as Literature if sub-titles will still be tolerated — the greatest film will be made by a director combining the geniuses of Beethoven, Van Gogh and Shakespeare — pardon ! — Mozart, Rembrandt and Tchekov.
And b}^ a mathmatical deduction, it would seem that we may have to wait 1:0,000 years before this super-producer is born.
And then, probably, an audience of Supermen and — women will be prepared to acclaim this genius, being able to appreciate all three muses simullaneously. Wonderful !
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