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20 The Educational Screen so that when Lang entered the room, attention was focused on his entry as an entry. Then, he became a part of the dark loneliness of the room, pictorially, but one of its more important details. The minute he moved toward the sob- bing child in the foreground his action alone was sufficient to focus attention on movement again, though from the standpoint of photography he still blended into the set. It was this principle carried throughout Carnival that made it a tre- mendously emphatic picture. Should sets figure so prominently? How else, pray, will you make up for a meager text? The stage play sets a stage but, after all, depends to a great extent for atmosphere, on the lines of its characters. Minimum subtitling is the goal of a picture medium; therefore sets complete action, not merely set it off, and must develop an emphasis and technique in themselves. Carnival was a great story via a flawless continuity. Witness its sub- titling. When the action was creeping to its climax, the film was not over- weighted with titles. As the climax crashed and unwound the titles bunched to meet the acceleration in action. This can not be applied to all films. Carnival's climax was a mental-emotional one rather than a physically active one. In such a film words count as they would not in a story where action, pure and simple, carried the climax; where not the thought but the actions of the characters betrayed the emotional significance. Such films do not need the effect of titles bunched at the crisis. Further, Carnival's art-titles were perfect, unless in one spot where a balloon effect was held for several feet too long and appeared in a flash once too often. Carnival's Venetian setting was lovely, and last but not least, it had a great cast under expert direction to sustain the utter humanness of the scenario. But all these possibilities could have been dimmed to the point of mediocrity had not Carnival been, pictorially, a perfect interpretation by the greatest medium man's genius has invented. These are the matters that made it greater than Deception and Passion; that characterize the isolated splendors of foreign production to the exclusion of the less effective but more steadily worthy American film.