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Germany)) resulted from my trip to Germany (1926). After completing the film, « The Roof of the World », I published my book, « On the Roof of the World with a Cinema Machine », and I am working now on new sketches of « Modern Afghanistan ». My literary work compensates me somewhat, for the lack of satisfaction the production of my films gives me. My 'Cinema language' is as yet too imperfectly developed to enable me to give, through its channel all that should be given. The 'meagerness' of my cinema language is due partly to the conditions of work in isolated countries, during my expeditions.
The various authorities concerned created an infinite number of difficulties. The local governor of Djelalabad, Akhmed-AliKhan (who made such a poor figure recently as head of the army) wTent as far as prohibiting the taking of views. We had to seek a special permit from the central Government before we could start work in that typical and most interesting of all Afghanistan regions. At Kabul, one of the ministers refused to allow us to take a photograph of the « filkhane' (elephant stable) giving the following reason: <( The elephants are too thin ; they are far too tired out for a long march ».
It is only at Pagmane, where Amanulla-Khan resides, that we felt entirely free. We could, there, reel off even the women, those lovely ladies « fashionably attired » in Parisian frocks, but still wearing a veil over their face, below the eyes.
Amanulla-Khan loved most to be taken in the company of the Europeanized deputies 'djirguy' of the Afghanistan Parliament — who hastily donned their frock-coats. Possessing his own automatic cinema machine he took pictures and constantly plyed us with questions regarding the technique of view-taking.
Leading principle in Film production.
Our cinematographic expedition aimed at the production of a cinema sketch of the country. I believe we have achieved our aim and that when our film is thrown on the screen, the veil of mystery hitherto covering Afghanistan, will have dropped.
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