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On the other hand, some of the technical stuff is stunning. Russell T. Neville's flash-light interior of a cave is truly enchanted ; the radiograph of Star Fish is a lovely thing from the X-ray Section of Messrs. Ilford, Ltd. ; the Erratic Crystals of Bromide of Potassium produced on a repellent support (tower of ivory-glass), the Design Motives from Chemical Crystallisations, the Normal Radiographic Appearances of the Teeth — they are all pictures full of strange beauty. It is good to note that the first-rate technical photographers have individual style : Dr. Alfred Grabner achieves marvellous flat patterns with transverse sections of organic matter (Len Lye would like these) ; Ranald Rigby carries out microscopic work in the round ; Fred Koch photographs Mineral Salts as if they were sculptural constructions. Perhaps the most magic of the technical-print exhibits are the six photos of the Night-blooming Cereus taken by Martin Vos. This wonderous flower blooms only at night and for one night only : "it commences to close at midnight, never to open again !"
OSWELL BLAKESTON.
One of the minor joys in life is the perusal of the news sheets sent out by the film publicity men. One of these days someone will make a collection of the choicest morsels, but in the meantime I present two specimens for the delight of my fellow men.
After a lucid dissertation on the merits of a British film we are informed that Mr. X is responsible for the photography " which, it is said, is likely to impress filmgoers."
From the announcement of yet another British film, for which an eminent composer has prepared a special musical score, it appears that the gentleman in question, although at first disturbed by the technicalities of the studio was not for long dismayed for " on one occasion he continued to play throughout an earthquake in Italy, thereby preventing a panic."
After prolonged meditation and fasting, we believe that here is an occasion when comment really would be superfluous.
R. B.
STREET SCENE
We feared that Street Scene, the film, would be crushed by the spacial limitations of Street Scene, the play, but we were wrong and hasten to congratulate King Vidor on a fine achievement.
Street Scene proves the tremendous possibilities of sound and music wedded intelligently to the pictorial image. The sequence when the husband returns and shoots his wife's lover is a triumph of dramatic construction. From a measured, peaceful tempo the story suddenly becomes charged with dynamite. The frantic fear of the boy as he shouts his warning again and again, the cry of terror bursting from the room, the revolver shots, the broken window — the entire sequence photographed from