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5 PLAN FOR CINEMA
To assert that Mozart's orchestra is a better instrument than the technically magnificent modern organization is to deny development ; and nobody but a fool pits himself against the inevitability of growth. The orchestra of Mozart's time was good enough for Mozart certainly, andjthe music he wrote for it Q_ne_of the few really priceless possessions of mankind, but there is very little doubt, I think, Mozart himself would acclaim with enthusiasm the advantages of the modern clarinet, the valve horn, the possibilities of tubas, contra-bassoons, piccolo-flutes, celestes, and the host of coloratura instruments added to the orchestra since the eighteenth century.
We see in critical_writing on cinema an attitude having a semblance of being advanced, but covering a thoroughly reactionary stand. The trouble lies in the critics attracted by it, of two distinct kinds, widely diverse in their opinions and their approach. Of the first we have the newspaper gossip columnist, who
jusually has no qualifications whatsoever^ for his job^ save a slender capacity to string sentences together and ferret out a good gossipy story. He is faithful to the stipulations of his employers in 'giving the public what it wants/which, of course, is really what the newspaper proprietors think it should have. The second, often pretentious and precious, are mostly honest, the manner of their work being the major affectation, not what they have to say, which, though fallacious, is sincerely believed. But this type of critic has one outstanding fault which makes most of what he