We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CLOSE UP
silhouette against cloud with hands upturned, in the attitude of any quattrocento pitying saint, is cut from several angles, each emphasising the beautiful gesture. An officer's figure, black also against the sky, asserts authortiy with pointed revolver. The figure is heedless. And next the officer's heels are spurning the hill, and the quattrocento saint is a blotch}' heap on the ground.
Arsenal would deserve a longer analysis and fuller comment than space will permit. It brings innovation. The paradox. A little man lights a candle for his ikon. The face of the saint '' grows disdainful. He leans forward
from his picture and blows it out Soldiers hurrying
to the front bear a coffin on a sledge. The widow waits by the open grave. The soldiers urge their horses " faster, faster i '' At length one exasperated horse turns round and snaps " we're going as fast as we can ! "
They arrive at the grave. The widow bows. The coffin is dropped in the grave and the sledge sweeps on.
Dovjenko's film, like Zveuigora, has too unknitted a scenario. The connecting thread is not yet evident enough. It is also too involved in its conception. But nobody can denv that it contains som.e of the finest work of any Russian film, and Close Up readers will know Avhat that implies I Its greatness is its restraint, its subjectivity, the innovations of technique, its distinguished and poetic horizons. Those passages which are not symbolical in treatment are stamped bv an acrid ironv in what will be known as the traditional manner.
K.
41