Page:Pictorial beauty on the screen.djvu/191

 *toplay directed by Ernst Lubitsch. The scene is a court yard, viewed from on high. Looking down we see eight or ten servants running inward from all sides to a focal place, where they pile up cushions for the hero and heroine. Then they turn and run outwards to get more cushions. In a few moments they return, and finally they seat themselves in a circle about the central figures. Here is a charming combination of pictorial motion with a natural dramatic by-play, delighting the eye and lingering long as a pleasant motor image in memory. When we analyze this part of the picture we discover that the principle of balancing motions has been applied perfectly. To begin with, the design is kept in balance because the men enter at the same time from opposite directions and approach the center at equal speed. Thus, while they are separate figures moving over symmetrically arranged courses, they also form a circle which gradually contracts about a fixed center. This inward movement of the men is itself balanced by the corresponding outward movement when they go to get more cushions, which is in turn balanced when they come back. Finally this pattern of a circle contracting, expanding, and contracting again, harmonizes perfectly with the fixed circle which is formed when the men seat themselves. There is a further pleasing continuity in the composition when a woman enters the scene and dances over a circular path just within the ring formed by the servants.

To the so-called practical business man, whose artistic experience consists chiefly in drawing dollar signs, it may sound like sheer folly for us spectators to ask a director to spend valuable time in refining the art