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questions regarding their mysterious paradise just so many "dialog sequences."
Now psychologists agree, or do they, that the one emotion universal is the fear of falling, said fear increasing with the distance we put between ourselves and solid footing.
True or not, Harold Lloyd in Safety Last played no long shot on audience appreciation when he hung for torturous minutes to the moving hand of a steeple clock with nothing but the breeze between himself and the macadam some twenty flights below.
If Harold Lloyd took no chances on holding his audience what about Capra and Riskin air-touring their audience across those Tibetan alps in midwinter?
In Safety Last Lloyd at least had something more or less earth-connected to hang onto and he was in his home town, but in the Capra-Riskin thriller the refugees sailed at several thousand flights over a foreign land in a direction opposite the one they wanted to go. and with nothing but snow-swept wilderness below.
An unknown pilot at the controls, threatening them with a gun, banditti below and behind and a vast uncharted, winter-lashed mountainous region ahead, the icy trail up the mountain sides and then suddenly, the sun-washed Valley of the Blue Moon, the strange and beautiful architecture that towered over and around them like fairy castles in a dream-world.
No amount of writing genius could do justice to that perilous journey, the terrifying majesty of the Tibetan alps, the breath-taking grandeur of Shangrila's templed hills. It took camera and projection machine to give those perils and mysteries reality. Modern science in the darkened theatres of the nation made it possible for millions of people to actually live through every moment of those harrowing experiences, with the result that Lost Horizon held its audiences in a firm and increasing grip for such a long period that neither the dialog sequences nor the love idyll could have let them down, even if the Colman-Wyatt romance had carried on longer than it did.
Obviously the critic quoted was completely oblivious of the audience, nor had he any natural or trained appreciation of what was obtaining in audience consciousness. Finally, and regardless of the need for
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