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Henry a Wallace — Part 4
Page 433
433 / 543
SELES LIVER FATE
oo
DELICACIES -
| 28
the machine can do much less, and
the people must of necessity do much
more.
All this is to the good, but it is good
still only on the technical level. If the
new honesty of documentation is to
make any permanent claim on our ap-
plause it must’ be accompanied by a
parallel. importance of dramatic ma-
terial. But this is a bad’year to ask our
producers for serious themes; and in
any year it is intellectually and emo- -
tionally more difficult to create drama
than melodrama. -
A crime story is calculated to offend
none of the self-appointed guardians
of screen purity so long as certain
“@ . | simple rules are-observed; and a-crime
story, which assays good and evil by a
legal code, obviates the much more
difficult task of dealing with these two
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specialized and isolated aspect of hu-
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Detailed information on passengér-carrying freight- | that the documentary camera can linger
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complete, concise booklet. Describes ALL the pleas- upon. It is telatively safe and relatively
ant trips (to Europe, West Indies, ete.), so hard/easy, thus, to illuminate it with com-
NEW REPUBLIC
with our minds. If any real use is to
be made of the new style, the scripts
will now have to grow up to the
Cameras,
Evil fo order. The French “Le Cor-
beau” (The Raven) arrives here with’
& curiosity value unique among im-
ports. This is the picture that was made
in France during the occupation with
at least the blessings, and in all like-
lihood the encouragement, of the Ger-
mans. It was. released in Germany dur-
ing the war, when it was used to sub-
stantiate the claim that the French are
a decadent people. Genét in the New.
Yorker sadly called it one of the half-
dozen greatest French pictures ever
made. The ban placed on it in France
after the Liberation has only recently
been lifted.
“Le Corbeau” is a striking evoca-
tion of remorseless pessimism, but it
doesn’t seem to merit Genét’s reluctant
praise. Anyone at all familiar with the
French cinema should be able to work
up a list of a dozen or more films for
higher acclaim.
An account of how a. pathological
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to learn about elsewhere. Tells ports, length of
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plete factuality. writer of poison-pen notes uncovers
the rottenness all-pervasive in a French
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Cases in point. The two most recent
crime documentaries—“Call North-
‘side 777” and “The Naked City”"—
well illustrate the predicament. Each
picture, one in Chicago, the other in
New York, uses its city with taste and
photogtaphic excitement. They have a
visual freshness that compels your at-
tention and a circumstantial frankness
that compels your belief. And the
revitalized camera work is reflected in
local Societies, book lovers, writers, aesthetes, (the performances. James Stewart has
friendly, thinking people. Branson, Missouri
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never seemed as good as he does in
“Call Northside 777,” and though
Barry Fitzgerald reaches no new
heights in “The Naked City,” he
dances through the script with a pug-
nacious vitality that is at least com-
parable to his great stage appearances
with the Abbey Theatre.
Both films are fun to see, and they
carry the new technique about as far
as it-can be taken. But they cannot
stand any closer analysis, for their
dramatic content is old and safe and
Ge. polished featureless by long contact
provincial town, the picture is so
sweeping in its depiction of depravity
that it sets up no counterfoil of de-
‘cency to produce a dramatic impact.
Furthermore, despite some beautifully
thought-out characterizations, I felt a
strain in the acting, as though the cast
‘were pushing against a current, and
there were details of plot construction
that seemed to me foreign to the
French love of consistency and logic.
I objected, for example, to the quite
illegitimate focusing of suspicion on
a young girl of the community.
Little incidents, seen only by the
audience, point unmistakably to her
guilt, and the final exposé, therefore,
becomes fraudulent.
The film looks to me like what you
would expect of a group of talented
people whose treacherous designs were
tripped up by their artistic instincts, but
I can't be sure how much I have been
influenced by knowing that the Ger-
mans were working somewhere behind
the scenes. ROBERT HATCH
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