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94 CHANGINGSET-UP
world, from his viewpoint and out of his mood, as completely deformed. The film can show not only a drunk reeling along the street, but those distorted reeling houses as well, which the drunk sees with his drunken eye. His subjective vision is reproduced by the film as objective reality.
A film once showed the same street in four entirely different aspects, when four different people walked along it, each seeing it in his own fashion. We saw the same houses, shopwindows, street lamps, poster hoardings, once with the eyes of a fat and contented shopkeeper, once with the eyes of an empty-bellied unemployed workman, of a happy lover, of an unhappy lover — the objects were the same but their pictures were very different, although all that was different was the set-up and angle.
THEME WITH VARIATIONS
This sort of thing can be compared with a theme with variations, a mighty example of which can be seen in Dovzhenko's film Ivan. The film shows the building of the great Dnieprostroi dam four times. First it is seen by Ivan, the peasant lad who has just come from his village to find work on the great project. It is a night picture and shows a terrifying, infernolike chaos. Smoking, flame-belching furnaces, incomprehensible, mythical monsters. A confused, impenetrable, titanic jungle of enormous iron beams and wheels within wheels. It is the peasant boy's vision of an industrial building site and the cameraman with his set-up has drawn its terrifying outlines.
The next time we see the site, it is with the eyes of Ivan who is now a full-fledged industrial worker. Now it is a picture of order and purpose. A steel structure of reason moving precisely on pinion-wheels of logic. Clear, exact, transparent, it is as if the inner mechanism of a creative brain had been laid bare. Ivan is working there and he knows what he is doing and why.
Then we see the giant hydro-electric station in the making a third time, but not with the eyes of Ivan. This time the eyes belong to a woman whose son has been crushed to death by