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EXPERIMENTAL FILM IN FRANCE
of begging the musician not only to underline events with his grossest effects, but worse, to foretell them with his rolls of the drum?
From 1925, however, at a period when the cinema, silent as it still was, possessed fewer emotive levers, Frank Martin, in an article in Cahiers du Mois did not hesitate to insist upon its being allowed to go its own way according to its own means:
'Music in the cinema has no other object than to occupy the ears while the whole attention is concentrated on vision, and to prevent their hearing the exasperating silence made by the noise of the projector and the movements of the audience. It is important, then, that it should not distract the attention by a richness and novelty that would divert the eye from the spectacle.'
And we must do justice to Dr. Paul Ramain who, momentarily abandoning his symphonic and contrapuntal speculations, added these words full of common-sense:
'Music composed to measure and cut to a strict time -limit is inevitably broken in inspiration and development. If the film is beautiful the music will be vanquished by the film, and if the music is sublime the film will be vanquished by the music.'
Emancipation
In order to free the cinema from the theatre's deathly leadingstrings, the first champions of the new aesthetic did not hesitate to place it under the less cumbrous tutelage of the other arts.
'Cinema is painting in movement', wrote Louis Delluc.
'Cinema is the music of light', said Abel Gance.
'Rather mime than theatre', thought another.
Then came a second offensive to release the cinema from every allegiance. 'The Cinema versus Art' was the crusade undertaken by Marcel L'Herbier and backed with brilliant polemic, for he was far better as a writer than as a director. But neither friend nor enemy failed to point out that it was difficult to take these arguments seriously coming from him, some objecting that so great an artist had no right to talk like that, others saying with a sneer that his attitude ill-suited such an aesthete.
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