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THE ACTUAL
Its significance lay in its exemplary methods of simplicity both in treatment and in design. Leni made also Prince Cuckoo, a film about which there is little on record and, as already mentioned, designed the settings for Robison's Manon Lescaut. His career in Hollywood, where he went in 1926, developed into two good melodramatic thrillers, The Green Parrot and The Cat and the Canary, which he followed with a travesty of cinematic methods, The Man Who Laughs. He died last year, having just completed an all sound and dialogue picture for his American employers, Universal.
The work of Lupu Pick has tended to become over-praised and over-estimated. He played, it is true, a part of some importance in the gradual dawn of the German naturalistic school, with the production in 1923 of New Year's Eve, but this film itself was dreary. It was over-acted, in the worst German manner, by Eugene Klopfer, a stage actor who knew little of the film, and it was made without titles. Pick's direction is principally characterised by a slow, deliberate development of plot and character, depending wholly on the acting value and narrative situations for dramatic effect. Apart from New Year's Eve (the English renaming of Sylvester) he is known chiefly by his dull version of Ibsen's Wild Duck; The Last Cab, in which he played the lead; The Rail; and La Casemate Blindee. He came to Elstree in 1928, and made for the Louis Blattner Film Corporation, A Knight in London, a light comedy with camerawork by Karl Freund. His interest, therefore, really lies in the transitional nature of his earlier films. Dr. Arnold Fanck is associated principally with an early cubist production, The Stone Rider, typical of the decorative film, with constructed open-air sets, gloomy atmosphere and distorted environment, in which Rudolph Klein-Rogge and Louise Manheim played. He is better remembered, however, by that superb mountain film, The Wrath of the Gods, a picture of great pictorial beauty. Recently he joined G. W. Pabst in the Alpine realisation, The White Hell of Pitz Palu.
Returning to the first period of the German film, that is the era of theatricalism and later the beginnings of the expressionist and art film, a brief note should be included on the Lubitsch productions, and others of a similar type. Apart from Anne Boleyn and similar historical pictures, Lubitsch directed a meritorious film, The Flame , with Pola Negri, Alfred Abel, and Herman Thimig; as well as the
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