French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

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15 Even more severe was Antoine, who criticized Delluc, L'Herbier, and (to a lesser degree) Gance in an interview that stirred up controversy throughout half of 1923: Oul, Delluc, L'Herbier, des gens qui ont du rout ; mais que de complications inutiles! Comme é*est "plus simple qu!ils “ne°1lée eroient sy of.. Ue maitre, c'est Gance, notre seul cinéaste. Un photographe prodigieuse, le Photographe avec UR BEAN Pa el el Oba Neus Vaub Cette tal te dans le sommaire qui Hed > tub J'Accuse et les enfantillages de la Roue.-0 Canudo and others having replied, Antoine explained that he felt that French cinema had progressed very little Since 1915 and after citing the "inutiles et assez puériles" experiments of L'Herbier and the "banal ou routinier" deficiencies of Delluc, he found their error in: "de prétendre tout de suite éléver le cinéma au rang d'un art, d'y faire oeuvre de littérature pure, sans tenir compte de la mentalité actuelle des spectateurs."@! Dellue countered with a defense of his methods and a retort that the well-financed Antoine could hardly sympathize with the poorer younger generation: "Vous avez tout en main, et c'était en un temps tout doré ot votre prestige vous Sauvaut tout. . .. Est'ce que vous croyez que les banquiers se roulent @ nos pieds, suppliants et pantelants?"°° Such a controversy confirms that to some ex tent the Impressionist avant-garde and members of the Standard commercial cinema recognized that distinctly