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not need to be shown the complete procedure again. An abbreviated version of the drill is given again, but this time we do not start from the beginning.
The cut-away to the sea (23) makes it perfectly acceptable that when we cut back to the seamen, they are already halfway through their preliminary drill. The visual emphasis of this round is on the personal reactions of the seamen (shown mostly in rather static close shots) and most of the shots are not of speaking characters; it is therefore possible to give the sequence of commands as quickly as desired. Again (as with shot 23), shot 30 is longish in duration and conveys the anxious seconds of waiting before the shell strikes water.
Rounds HI and IV. At this point we cut away to two subsidiary characters who are outside the main action. Digger, a disgruntled Australian, has been shown in earlier parts of the film to be extremely sceptical about the effectiveness of small guns and his remarks here are merely a further side-light on the " message " of the film. At the same time, cutting away from the main action provides an opportunity to imply in the sound-track that while these two men are talking, two more shells have been fired ; the shots of the two men are slow and relatively long, and make the firing of two more shells in this short time believable. Lastly, the scene, by slowing down the tempo of the sequence, strengthens the feverishly fast effect of the final round (34-38) which leads up to the sinking of the submarine. It is the calm moment before the final burst of activity which makes the climax more effective by contrast.
Round V. Shot 39 (like 23 and 30) provides the moment of expectancy while the shell is travelling through the air.
Then, with tremendous pace, the cycle of commands is repeated in 34-39 ; this time, close shots of hands speedily manipulating the gun are shown, and the total impression is of quick, frantic activity and movement. The commands are heard " off " and are given as fast as possible.
After one further cut-away to some onlookers on the ship, the submarine is briefly shown surfacing — the shot is left on the screen only long enough to let the spectator know what is happening and is quickly followed by the explosion itself. With the explosion dying down, the pace suddenly relaxes (by comparison with 40-46, shots 47-49 appear slow and leisurely) and the calm music takes over.
Looking at the passage as a whole, it becomes quite obvious
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