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APPENDIX 2
is a practical sort of person. I liked Temelja better in the film than in the book; he is more interesting and more correct.'
The discussion becomes more and more heated. In the end, the script writer and director have to explain in popular terms their conception of the character of the popular hero in the fairy-tale before the attentive and serious audience. But as pupils of more advanced classes are also present, they have to refer to works on folklore and literary authorities.
Next to this central problem, which stimulated the passionate discussion, dozens of smaller questions emerged. The attentive eyes of the children do not overlook a single detail; they are used to realistic, truthfully artistic form, even if it is a question of fairytales. Why is one landscape decoration painted badly? What is the reason for the hero's delay with his answer? Why is the magic horse seen so indistinctly in some particular scene?
Also, all actors playing in this film take part in the discussion. Without a trace of embarrassment, members of the meeting criticise the good and bad points of each actor's performance, and show in this respect an exact knowledge of cinematographic terminology. The actors listen attentively to these criticisms and answer them in their speech at the end.
An extensive correspondence between the film studios and the youthful members of the audience completes this lively discussion. One department of the studio is exclusively concerned with carrying on this correspondence and analysing the numerous opinions, inquiries, demands, and suggestions of the children; it also organises circular questionnaires among the children.
Many letters are also received from adults. For instance, the matron of a kindergarten describes in her letter how the children, after a performance of the film By Command of the Pike, make use of the themes of this film in their play.
A good many letters contain sound suggestions from young cinema-goers for making films about particular themes. All sorts of suggestions are made, from the filming of Don Quixote or the production of a film on Newton to such 'problematical' themes as truthfulness, social conscience, patriotism, individualism, and collectivism, etc.
In one of these letters the writer says: T am told that you are making a film about a boy who is always thinking only of himself, and who is reformed under the influence of his school-friends. In my opinion such a theme is not really likely to have a great interest for either older or younger school-children. I should like to see in
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