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He is shot by the military like a rat in a corner. Bair is seized then with mad rage. He tears off the robe, snatches a sword, and cuts his way, possessed and demoniacal through the house, wrecking everything. When the astounded people come to their senses and try to follow, the same possessed fury carries him through them, and he jumps from the window. The army is attacking. Bair is on a horse leading the insurgents. Storm begins. And with it, symbolism begins, overmastering the end of the film. Storm rises and becomes cyclone. The invading army is swept back. Trees with it, men rolling, guns blown over. Bair and his followers ride triumphantly behind, following. The film ends wrongly and suddenly on a wild crescendo of storm and wreckage and the triumphant ride of the Mongolians. It was not a rounding off, nor was it successful symbolism. The suggestion of supernatural intervention, the general wild firework display had nothing very suggestive in it. The end was rather a pity. According to the synopsis it ends with Bair riding into the distant steppes. This would be better, because the problem dealt with through the film is not resolved by a hurricane at the end of it, which was meant to say that this was dealing w^ith the problem and this was the end of it. The problem remains, and Bair riding into the steppes would indicate this.
Storm Over Asia is not, however, a film to criticise, but for the starved lovers of film art, to be devoured greedily and gratefullv. It will last forever.
K. M.
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