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CAMERA RHYTHM 85
ments, by the displacement of a hair. Such films were unsurpassed in showing the Strindbergian moods in the savagely antagonistic silences of human beings confined together in narrow spaces. The micro-tragedies in the peace and quiet of ordinary families were shown as deadly battles, just as the microscope shows the fierce struggles of micro-organisms in a drop of water.
CAMERA RHYTHM
By the movement of the camera or the flickering of the montage even the physical immobility of such static conditions could be mobilized and dramatized. This is a means of expression completely specific to the film. If for some reason or another movement is arrested in a scene on the stage or in the studio, then nothing moves there any more and there can be no question of tempo or rhythm. The film, however, possesses this specific possibility that the scene that is being shot may be completely frozen and motionless and yet the scenes projected on to the screen can nevertheless be in violent and varied motion. The characters may not move, but our glance may leap from the one to the other as it is carried by the camera. Men and things do not move but the camera shifts rapidly and excitedly from the one to the other and the movement of motionless pictures collated by the cutting may have a swift, wild rhythm, making us feel the inner movement of the scene in despite of its outer immobility. The scene in its entirety may be motionless in deadly numbness, like a stationary great machine. But the rushing close-ups show the throbbing of some tiny wheel of the clockwork. We see an eyelid twitch, a lip curl in the motionless figures, their immobility replete with utmost tension.
Lupu Pieck, who was one of the greatest German directors of the silent film, once made a crime film. In it safe-breakers burgling a bank vault inadvertently lock themselves into the underground vault. There is no way out of the trap and the mined vault would be blown up in ten minutes. A clock on the wall shows the passing of the minutes. Nine men dash to and fro in mad frenzy, searching for a way out. All in vain. There