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The imagery by which he attains this is different from superimposing the actual causes of a state of mind, as with the sheep and the clock and the chair in White Gold. It is different from what Pick did with waves in New Year's Eve and from what has been done by Lubitsch, whom also I want to consider. These are the world without and to be gratefully received. They show us the knocking at the mind's door. Pudowkin lets us in. The force of apparently decorative scenes and flashes in one of his films comes from within. The creaking chair is a rational symbol of GoudaFs irritation. Pudowkin would give us the psychological symbol, and the two are not the same.
Think what this means. If all the extraordinary tunnels down which the mind travels, like a monkey, with an experience, leaping from branch to branch, if all the leaves can be lifted up, disclosing the vista beyond, as well as the casual fruit beneath ; if all the events we bring to an event and barter for it and weigh against it, shall we or not respond, and if we do, enrich it with ; if all this can be given — and Pudowkin is only at the beginning — what can we expect ? vShall we be starved any more? Irritated, dissatisfied, twisted, putting up with old perfunctory symbols any more ? Putting up with stories that don't fit life as w^e know it, and because we never see that life almost think we are the only ones that do know it, trying therefore to fit it in with those old symbols of I love you, you love me, so both are happy, like a foot into a toosmall shoe because, after all, it must have SOME protection?
Surely this, to be rational, gives us a world that is not one-sided (and every kind of world is round), a world we know, not a world we are surprised others seem to think they
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