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great difference, between Robert Bresson and Robert Flaherty, two film-makers each in his way pure. Both of them are seeking the spirit, the inner life, the interior. Robert Bresson begins with the interior, and then he makes or creates an exterior to fit it. Robert Flaherty, on the other hand, begins with the exterior and discovers the spirit that is in it, like the Eskimo. In the Eskimo language "there are no real equivalents of our words to create or make, which presuppose imposition of the self on matter."6
So there are these two ways, the way of making and creating, with its discipline of doing, and on the other hand the way of discovering, or releasing, with its discipline of letting be.
The great main stream of film-making goes the making, the creating, the fiction way, for that is our habit of mind. But Robert Flaherty's whole life was a passionate and stubborn fight for the exploratory way— for a natural poetry, for a greater awareness of the essential truth of things as they are, a deeper communion with all being. His only care was that his films should show these values which the new medium had brought into the world. With every film he hoped that the next one might be great enough so that people would see— see that the approach to the medium which could bring them these values was the natural approach, true to the nature of the medium, true to its function and its destiny.
Robert Flaherty never made a love story, the ordinary love story, boy-meets-girl. But out of his camera, whatever the subject, love came of itself, spontaneously, love extraordinary, so that John Houseman could say of his films, "They are rooted in love."
Love is a celebration. Robert Flaherty celebrates the free spirit of peoples. He celebrates his own fight for freedom to make his films. But above all he celebrates a new and strange and perhaps portentous fact, in the history of art a "first" : that the liberation of the spirit that comes from the profound experience of any great
6. Carpenter, be. cit. 42