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ON THE NATURE OF CINEMA 5 1
high tempo. Action became piled upon action. A crisis would surely soon be reached, the cutting was becoming quicker and quicker, it was an immense visual crescendo. The Russians were indebted to the Americans for their
original _ notion of the necessity for tempo. Action
implying mwemenPcan only Begiven meaning J through tempo. Without tempo it would no longer be action, in the broadest sense of that word. We have already said ,the outstanding characteristic of the cowboy film is action. The entire Russian cinema ot the montage school was really an elaborate extension of the American cowboy film. Now action is peculiarly amenable to a people in revolt; likewise to a people^ whose culture and wealth are rapidly^ expanding. It ! characterizes most forcibly, drive, determination. The will to do in antithesis to the desire to contemplate. That, it seemstoli^^
and American cowboy film were so action-full. It has bearing on, and is rather borne out by, the fact that German silent cinema in its golden period— -^th^jyTA. period under Pommer — is distinguished by its marked lack of^ctionT^ The Germans were the first people to introduce^ ffimflTinto cinema in distinction to action Jpure an3sTmpl£^^
The American dialogue film to-day is more packed with action than ever before. The master, ready to learn, has gained by the exuberant brilliance of his pupil. But Americans are much too quick-witted to be caught by any superficial pronouncements on the stupidity of synchronous speech. The machine now