Close Up (Jul-Dec 1928)

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CLOSE UP wrongly, and to the detriment of his reputation, credited to him personally. Clair realised that for the production of films money is required, and having found a firm willing to guarantee this prime necessity he accepted its conditions. Nevertheless, he may to-day rest assured that his gifts and his talents have not been squandered. Into La Proie du Vent he succeeded, in spite of an uninteresting scenario, in introducing excellent cinematography and in making of the whole a first-class piece of film work. The next to appear was the Chapeau de Faille d^ltalie. In my opinion Clair here approaches the level of that mighty film genius for whom he cherishes so deep a reverence : Charles Chaplin. This is no mere blasphemous assertion, nor is it intended to convey the idea that Clair is in any sense an imitator of Chaplin. Clair pursues his own way. To make from a stage comedy of the last century a film for 1927 was a hazardous enterprise — and a complete success. This comedy, or rather satire, for Clair's wit is always sharp and biting, is pure cinematography. Not a single comic caption, not a single forced situation. Could one have believed it possibe to represent with compelling power upon the film a man who is a little hard of hearing? This seemingly impossible task (for surely the comedy of partial deafness can be worked out only upon the stage) Clair has transformed into a radiant possibility. I have seen this fUm four or five times, discovering each time something fresh and surprising and on each occasion growing more convinced that in Clair we are dealing with genius on a large scale. It is impossible to describe his films. They must be seen. 36