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THE EUROPEAN CINEMA
masters of the film medium, and for whom we all had the highest respect in the years before the war. From The Joyless Street (1925) to Kameradschaft (1931), most of his films seemed to American and British observers to be strenuous pleas for social and economic justice. When he left Germany after Atlantide (1932), after the accession of Hitler, we applauded his courage and integrity. We shared his frustration when he made the cumbersome threelanguage version of Don Quixote (1933) in the south of France, a film with which from start he had little sympathy despite its ultimate beautiful photography and settings. When he refused to work in Hollywood after one abortive film {A Modem Hero, 1934, with Richard Barthelmess), we said that here was a man to whom compromise was impossible.1 When he seemed condemned to the direction of low grade melodramas in France in the late thirties (Drame du Shanghai), we raged against the System. And when, after the outbreak of war, he received Hitler's amnesty and returned hurriedly to Germany, some of us accepted the explanation that he was ill and feared French internment as an enemy alien ; that he would retire to his castle in Austria and have no part of the war. When internal evidence suggested that Pabst had had a hand in the editing of Feldzug im Polen {Baptism of Fire), we
1 The following excerpt from an interview with Pabst by Ludo Patris in Belgium, printed in Cinema Quarterly, Vol. 1, No. 4, Summer, 1933, is of interest :
' I am the most attacked director in Europe and I pay dearly for my independence. After U Atlantide I waited months and months for a proposition which I could accept without caving in. That's where candour leads you. ... I don't reproach business men for gaining money, or for the desire to earn it. I dream of an understanding between the audience and the director, apart from the production. To appreciate each other they must understand one another. . . .'
' Do you foresee a reorganisation of production? '
' Rather the creation of another production better adapted to the needs of those for whom it will be intended.'
' Perhaps in collaboration with the State? '
' No ! Hitler to-day and Stalin to-morrow ! Under an obligation to direct oneself according to the wish of each Government. Never ! There must be freedom to follow a determined line once and for all. . . . The cinema is the mirror of our epoch in which everything must be reflected and imprinted forever.'
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