Evening star., 1947-12-07

DOCKS deanng With the theater and
it's upstart offshoot, the screen.
Perhaps the most significant of
the later literature on the drama is
that having to do with the movies,
For years, it has been the custom to
dismiss the movies as appallingly
less than an art and therefore un-
worthy of the attention of serious
critics and their exalted scrutiny.
A mere industry, and a get-rich-
quick one at that, has been the esti-
mate of too many observers of the
cinema.
Influence of the Movies
On Contemporary Literature
In time, the passionate few hold
ing out for another point of view on
the movies as the universally pop
ular literature of the people, have
been somewhat convincing in their
argument that the motion picture
camera is the instrument of uni
versal sight. Serious minds have ac-
cepted the premise that the sig
niflcance OF such an instrument
might be to this age what the print
ing press was to an earlier one.
That the movies are being taken
with new SeriouSneSS-and some
times hysterical one as is often
true in acts of atonement-has
made some of the more exciting
drama writing OF the year. Free
dom of the Movies" by Ruth Inglis,
based upon the study of the Com
mission on Freedom of the Press
was perhaps the most thoughtful of
such works.
Here is scholarly observation of
the movie picture as an influential
instrument with an enormous po-
tential. 1t was not an analysis in
tended for direct popular consump-
ton, but rather for absorption by
the public by its influences upon the
makers of movies and the social
scientists concerned with molding
public opinion.
If it was not generally read, it
nevertheless was studied by educa-
tors, movie producers, editors, critics
and others in need of education on
the subject Freedom of the
Movies" in reality offered nothing
new in its broad recommendation
that the movies should be free in
proportion to their acceptance of
responsibility. 1t all had been said
before, but not so compactly or
comprehensively.
From a Great Documentary
Film Maker
Another book on the screen and a
more readable one in its revealing
glints of perhaps the liveliest mind
in the field, is the inconveniently
titled "Grierson on Documentary" 1t
Is the collected writing of John Grier-
son, England's and Canada's great
documentary film maker. Over a
period of 20 years, as critic. educa-
tor and movie producer, Grierson
has originated some of the most
exciting ideas in the whole field of
cinema. Forsyth Hardy has COL
lected these in "Grierson on Docu-
mentary" He has done a superb
job Of selecting and editing these
into a volume that ranges from such
detailed subjects as the acting styles
of Laurel and Hardy and the tech
nical tricks of the great directors
to the potential of the camera AS a
weapon of democracy
Almost any intelligent movie
goer could read it with excitement
and enrichment. Sadly enough,
almost none Will.
The agreeable soporific OF habit
makes itself felt in assessing the
years books which deal with the
legitimate drama. Some of these
are old friends, met year after year
In autumn reunion and always
pleasantly.
One such Is George Jean Nathan's
"Theater Book of the Year" which
Is always as lively as the subject
itself may have proved deadly to the
dean Of critics on his year-of nights
in the theater. Critic Nathan is a
man of style and taste, both Of which
defy corruption by the curious mix
ture of art and commerce on which
he writes. Tonight's production may
merit only the most curt and passing
criticism, but the criticism of Ma
than does not pass. 1t remains as
readable at seasons end as 1t did
the nOrninc after and has the effect