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16 PUDOVKIN
in its clear, well-thought out construction. Every detail is in place and directly related to the pervading idea. Even in this superficial sketch of its content one senses the presence of vivid, externally expressed images : the kitchen, the chauffeur's friends, the elegant clothes, the guests at dinner, and, again, the kitchen and the clothes in another form. Every essential element in the development of the scenario is characterised by clear, plastic material.
As counter-model I shall reproduce an extract from one of the many scenarios that pour in every day : " The Nikonov family is reduced to direst poverty, neither the father nor Natasha can find work — refusals everywhere. Often Andrei visits them, and seeks with fervent words to encourage the despairing Natasha. At last, in despair, the father goes to the contractor and offers to make peace with him, and the contractor agrees on condition that he shall receive the daughter in marriage, and so forth/55 This is a typical example of filmic colourlessness and helplessness in representation. There is nothing but meetings and talkings. Such expressions as " Often Andrei visits them," " with fervent words he seeks to encourage M " refusals everywhere" and so forth, show a complete lack of any connection between the work on the action and that filmic form the scenario is later to assume. Such incidents may serve, at best, as material for titles, but never for shots. For the word " often " means, in any case, several times, and to show Andrei making his visit four or five times would seem absurd even to the author of this