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THE ACTUAL
Capitaine Fracasse. His most interesting work was in the burlesque cine-poem, La P'tite Lili, in which he touched a true note of poetic sentimentality. Although his films are littered with garbage and depression, they are always sweet natured. Rieti que les Heures, made in 1926, was similar in aim to Ruttman's Berlin, but whereas the latter film was an impersonal selection of images taken during a day in a great city, Cavalcanti's handling was more human and intimate. Among a pattern of shots of Paris, interspaced at regular intervals by close-ups of a clock marking the hours, he followed the movements of an old woman and a young girl. Cavalcanti is not interested in the usual devices favoured by the avant-garde, being generally concerned with the slow unfolding of a human being's life. En Rade, set among the quays and ships of Marseilles, was a praiseworthy example of centralisation of environment, beautiful pictorially, but negligible cinematically. His last picture to be seen was a costume romance adapted from Gautier, Le Capitaine Fracasse, rich in seventeenth-century detail and atmosphere, but unfilmic in form. He has recently completed Le Petit Chaperon Rouge, with Catherine Hessling.
Jean Renoir, son of the famous painter, is recalled principally by three films, Nana, La petite Marchande des Allumettes, and Le Tournoi. The first was based on the Zola novel, with Werner Krauss and Catherine Hessling in a mixture of the can-can, Lautrec back-stage and Offenbach; the second was a charming, sentimental realisation of the Hans Andersen story, notable for the fascination of the irresistible Hessling and a wilfully artificial setting already commented upon; while the third was a costume romance, in the best French historical manner, scrupulously accurate but quite unconvincing.
Abel Gance is the grand maitre of the French cinema, theoretically the apotheosis of great directors, but in practice always out-of-date with ideas. He spent five years on the production of Napoleon, a theme so vast that it defeated its own, Abel Gance's and everybody else's purpose. It was
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