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Film Reviews
Three Notable Films on Primitive Life
Mo AN A
rHIS is Robert Flaherty's companion picture to his famous Nanook of the North — id records the life of the natives of the South ;as in much the same fashion as Nanook picred the life of the Eskimo. Nearly two sars were required in its filming, during [lich time Flaherty lived in close contact ith his subject. He found in Moana, son
a tribal chief, an embodiment of splendid imoan manhood, and the film is woven ound the daily life of the Samoan family
which Moana belongs. He initiates his )unger brother into the art of hunting, of pturing tropical fish, of battling with the ant turtle, of shaking down great cocoanuts om the height of leaning palms. The womi of the family carry on their primitive art of ■eparing fabrics from the materials nature is given them at hand, and dyeing the fabrics ith vegetable dyes.
Moana's wooing of the maiden of his choice rnishes the thread of a story to the producm, whose climax comes in the ceremony of ttooing — an ordeal through which a youth ust go when his family decides the time has me for him to take up the duties and relonsibilities of manhood. According to imoan custom, fantastic and beautiful forms ust be pierced into his back and sides with ird bone needles, a process lasting seven lys and nights, at the hands of the master ttooer of the village. Flaherty has caught the beauty of the people
he has the beauty of the islands and given
a poetic touch. He has made his picture ith dignity and restraint which at once eleites it to a screen classic. Pictorially it is thing of beauty, for the panchromatic film : used has recorded the gorgeous lights and ades of the tropical scenery in matchless shion. The film richly deserves its place
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Moana alongside Nanook of the North as one of the unforgettable portraits of a people.
6 reels. Paramount. (Famous PlayersLasky.)
Grass
Here are the nomad tribes of southwestern Asia, on the move toward that on which their existence depends — grass for their flocks and herds. It is the eternal struggle of man against his environment, seen on a scale unparalleled in any previous achievement of the motion picture — the exodus of an entire people into a promised land.
Grass was made by three Americans in Persia — Merian C. Cooper, Marguerite E. Harrison and Ernest B. Schoedsack. These three adventurers journeyed to the land of