The Innocent Eye: The Life of Robert J. Flaherty

$6.95

Arthur Calder * Marshall

The Innocent The

Life of Robert

He ore the I

silent-film epic

made Robert a number of in the area of

f.

Eye Flaherty

J.

Nanook

of the

North

Flaherty famous, he had spent

and exploring Bay, Ungava, and Baf

years prospecting

Hudson

Land. Arthur (Balder-Marshall begins his book about this extraordinary human being fin

with an account of that adventurous young manhood prelude to a life that took Flaherty to the

South

Aran

Seas, the

across the United States,

Islands,

and

and India,

into Louisiana.

Sometimes stormy, sometimes comic, always absorbing, his career included the creation of such films as Moan a, Man of Aran, Elephant

Boy,

The Lund, and Louisiana

Story.

Utili/ing a wealth of research material gath ered by Paul Rotha and Basil Wright, distin

guished makers of documentaries, the author includes analyses of Flaherty's movie-making

methods by them, and by fohn Goldman and Helen Van Dongc-n, who were among Fla herty's film editors, Xcstful, adventmous, bravo, extravagant, single-minded, innocent,

and curious, Robert the

cinema,

J.

cmciges

of Flaherty, a pioneer these judicious,

from

sympathetic pagos as a moving and immensely

engaging 1

1

human

being.


not her family) must have made it plain that the engagement had been going on too long. There was war in Europe, the future was unsettled, it was high time that they should get married. This did not

fit

she

in with his plans at

(if

all.

His exploration and mapping

of the Belcher Islands was to be the climax of the four years he had spent in the sub-arctic. He was not prepared to abandon it in order

Hubbard family suggested. 1 Frances Hubbard did not press for the abandonment of his career. But when Bob pleaded that he was broke, a remarkable statement considering that he had returned from over a year in the North where to take a

Ford Agency

post, as the

own

were

small, Frances

bought her

wedding-ring and accompanied him to City Hall in

New York

opportunities for spending his salary

City to get the licence.

They were married on I2th November, 1914, at the New York City home of one of the Hubbard cousins and they left immediately for Toronto.

There the enamoured Miss Olive Caven was surprised first to be introduced to Bob's bride and then to be asked to find them a house to live in.

She had never even been told that

she did find

them

Bob was

a house and after she had recovered

engaged. But from the shock,

married happily and well'. autumn 1914 Sir William Mackenzie's main energies were con centrated on the war effort. It is unlikely that he would have bought 'she

In

Flaherty a ship in which to explore the Belchers, as he had done the year before. But the Laddie was at Moose Factory, being refitted; and

Flaherty had at least established that the Belcher Islands were much larger in fact than they appeared on the Admiralty Chart. Flaherty's a full proposal to spend the winter of 1915-16 on the islands, making was reasonable; and there was a far better chance of

exploration,

approaching them successfully sailing from James Bay than coming

from

Baffin

Land through

the

Hudson

1

Strait.

Ernestine Evans, an old friend of Frances and Robert Flaherty relates this suggestion of a Ford Agency in Film News (New York), Vol. XI, No. 8, Sept. 1951. It was made, I a imagine, contemptuously, to emphasize how unsuitable the young prospector was as husband for Frances.

[63]

THE INNOCENT EYE

It

Flaherty spent the winter editing the film he had shot in Baffin Land. was too crude to be interesting. But he had learnt something from

and when he made a second attempt, after finishing on the Belchers, he hoped to do better.

it

Frances and

Bob had had no

possible to take a

conventional

his serious

honeymoon.

It

work

was im

woman to the Belcher Islands. But Bob thought of a

compromise, which could at least give Frances some glimpse of the country to which he had lost his heart. Instead of going north alone in the summer of 1915, he went with a party consisting of his father,

young brother David, Frances and Margaret Thurston,

his

of hers from Bryn

a friend

Mawr days.

Together they made the, for Bob familiar, journey to Moose Factory. There the Laddie was waiting, refitted and ready and together they sailed to Charlton Island, where Bob left his family party to camp for several weeks before they returned on the Hudson's Bay Company steamer Nascopie. In their place, he took aboard Wetalltok, 'his wife and three children, his two partners, their wives and seven children,

twenty dogs, kayaks, sledges, tents and hunting gear. Their impedi menta topped the Laddie's deck load, which was already rail high,

among the boxes and bales in the choking hold, Wetalltok and tribe made their temporary home. The dogs, chained in the dories

while his

which swung from the chorused to the

skies'.

davits over the rails,

whined and yelped and

1

In their approach to the islands, they were favoured with good luck. sighted the southernmost outcrop towards nightfall on an

They

almost windless evening. They dropped anchor and rode out the storm which arose after dark. Next morning they crept north and as

they found a suitable harbourage for camping ashore, they were approached almost immediately by an Eskimo, who directed them to

main settlement of island families. Soon the whole energies of the settlement were turned

the

the Flaherty party to establish a base

as

camp

at the

to helping

main harbourage.

Cynically one might say that the Eskimo regarded this expedition a marvellous stroke of good fortune. As they helped to off-load the

Laddie and bring the mysterious packing-cases ashore

maraned kayaks, even bent 1

My Eskimo

Friends.

nails

on

their cata-

and scraps of planed plank were

FROM ORE TO AGGIE But the spirit in which they gave their help was not In that savage climate, it was an imperative that any self-seeking. should soul human help any other. Life was too tough for human treasure-trove.

beastliness.

The weeks before the sea ice formed were devoted to preparing the base for winter, getting gear and equipment in shape, making sledges, bartering for more dogs for sledging and laying in fuel, even to the extent of sailing the Laddie across to the Great Whale

kden with driftwood -

coast to return

the preparations for the siege

of winter. This was nature, the

work in which Flaherty delighted. It fulfilled his energetic communal fight against savage elements which continually

demanded the vigour, training, courage and resource which inspire soldiers, but its object was to prevent casualties. As the news of their arrival resounded through the islands, more and more Eskimo came in to see the Kablunak (white man) and his huts and to learn what he was about. threatened life.

It

With each hunter, Flaherty and Wetalltok pored over maps, listening to

what he had

to say (translating 'sleeps' into 'miles')

and seeing the

size of those island dots on the Admiralty Chart growing into a complex like the jawbones of an enormous beast.

Before these Eskimo departed, after giving their cartographical information, Wetalltok would tell them about the rocks which the

man sought

which when scratched with flint showed scratches like blood and how these rocks when boiled by the Kablunak could be made into the knives, guns and spearheads they held so dear. He showed them samples of iron-ore and several of these hunters of

white

;

blue rocks

and geese and walrus went off to the places where they knew they could find the 'sevick* (iron) rocks, samples of which they would

seal

bring back

when

the sea froze.

man and artist lay in his humility. He knew that in their country, Eskimo knew best. He trusted them as map-makers, hunters and friends. His own knowledge as a white man was severely limited but within its limits, and tem as they helped pered by humility, it could help the Eskimo as much One

greatness

of Robert Flaherty

as explorer,

;

him.

During

that winter

of 1915-16, there was a strange mixture of

[65]

THE INNOCENT EYE The Skipper of the Laddie, Salty Bill, improvised a Christmas Tree from spruce boughs he had brought from Moose to

civilizations.

make

spruce beer.

On the gramophone there were the songs

of Harry Lauder and 'Tipperary', and most popular of all 'The Preacher and the Bear'. The growling of the supposed bear, caused shouts of'Nanook! Nanook ! The Bear The Bear !' which made adults roar with !

and babies clutch

laughter

their

mothers in half fright. There was the miracle

of 'Cakeot Nucky', or Pop Corn: and the playing of baseball on ice with the Laddies starboard side as a backstop. 'If what

harbour

with our cumbersome fur costumes, the game lacked speed, it did not lack interest for the gallery - old men, women, young and old, and if one of their kind was fortunate squalling youngsters especially

enough to the batter

On

hit the ball, for, as they !

Only

darkness stopped

saw us.'

it,

the pitcher's role

was to

hit

1

2nd January, Eskimo came in from the far west with news sea ice was fit to travel everywhere to westward. At

that the

noon

Flaherty with Wetalltok

rocks,

enough they thought

and two of the crew set off with a thirteen-dog team. The Eskimo visitors went with them to a point less than a sleep away where there was an outcrop of sevick to load the Kablunak's ship

many many

times.

Flaherty was delighted, because it proved to be a rich vein 25 to 30 feet wide, running north and south along the coast. He traced it southward for 30 miles and found at the conclusion of his survey that

it

was the

largest

and

richest deposit in the islands.

The work of

exploring, prospecting and mapping came first in schedule and throughout January and Flaherty's February he con centrated it.

But even so, scenes imprinted themselves upon his memory. One afternoon they struck the sea. Drift filled the air. It was so cold that

some of

the dogs vomited. Suddenly they

Flaherty

knew what was

all gave tongue. Before Wetalltok was at their head, happening, cracking his long lash like a rifle-bullet. There ahead, crouched over his snow-blind, sat an Eskimo, arms folded on knees and in

lap,

watching for

seal to rise

the butt-end of his harpoon. 1

Op.

harpoon through a breathing hole no bigger than

As

quietly as they could, they sheered

dt.

[66]

FROM ORE TO AGGIE away from him, not had been waiting

to disturb his hunting. Wetalltok said the

man

there since dawn. 1

Nightfall that day, they

saw the orange square of an igloo window. he had not killed a seal for eight days. Sea

Rainbow, its owner, said pigeons were all they had to live on. Just before Flaherty arrived, he had killed one - the first in two days - and his wife, who was plucking it up for Flaherty to see. But though they knew Flaherty had or nothing to give away, they forgot their troubles in making the stranger welcome. Rainbow helped Wetalltok with the dogs, while

held

it,

little

the wife tidied

up the

igloo, sending her daughters scurrying out for

a pail of clean sea-water snow, while she herself unrolled his sleeping bag, pulled off his kooletah and hung it over her feebly burning lamp so that

it

would be dry

their beans

and

for the morning. As the strangers were eating bacon, she kept her children away so that they shouldn't

prove embarrassing and when Flaherty crawled in to ;

sleep,

they spoke

in whispers.

Next morning Flaherty told Rainbow that when he returned to base camp, Rainbow and his family must visit him and he would try to be hospitable. 'Yes,'

eye open

added the

for sevick rocks as

you

practical Wetalltok, 'and

keep one

come.' 2

And

will/ promised Rainbow, 'that is, if I ever kill another seal.' at this joke against starvation, there was a chorus of laughter. *I

of incident which made Flaherty love living among the Eskimos. They had a simple courage and nobility which echoed in It

was

himself

this sort

when he was among

them. Farther south one ran into

com

going away and coming plications to live. somewhere her to find and married back asking you Much has been written about the birth of Flaherty the film-maker; ;

like taking a girl out to dinner,

most of it pious poppycock. The deepest experience in Flaherty's life had nothing to do with films, art or for that matter with exploration, prospecting and the opening up of the North. It was the discovery of that people who in the midst of life were always so close to death they lived in the moment nobly. This virtue, which he prized above

all others, is

an epic

virtue.

The

Eskimo Friends : when Flaherty told the story on the B.B.C. a Thus Flaherty in at the same seal hole. quarter of a century later, they came upon the man next day still 1

2

My

Op.

cit.

[67]

THE INNOCENT EYE it, as did the Vikings, because they were living in the simplest contexts; and the Eskimo, liable to be separated by a crack of the ice, so that an igloo would split in half and one half of the family would be separated from the other for perhaps ten years met before preserved the same heroic simplicity.

Greek heroes had

they

again,

the Belchers and he gathered his samples of iron-ore. no fool. He had already discovered deposits of iron-ore

He mapped

But he was in Leaf Gulf which he knew were as rich as those in the Belchers and Sir William Mackenzie had said they were uneconomic to exploit. If the finds in the Belchers had been twice, or twenty times as rich, their unexploitability Flaherty had already demonstrated that it had taken him four years to land on the islands.

by

the fact

So what new excuse would he have to return to the North after he made his report? For the duration of the war, at least, Sir William Mackenzie would not be interested in opening up could

satisfy

new fields, when he

war-demand from current mines.

Filming provided his alternative. Impressive though Flaherty's ex of Vilhjalmur ploration had been, it did not compare with that himself who had the Icelandic Canadian Stefansson, gotten through the University of

Harvard and then established a reputation Friendly Arctic* which he described as a land of

Iowa

for exploring 'the

to

abundance. If anyone was going to invest money in Arctic Exploration, he would choose Stefansson who propounded a northward course of

empire rather than Flaherty who loved the North just because life was so hard and could resist the northward course of empire.

So from the end of February 1916, the thirty-two-year-old Flaherty on what had earlier been a pastime. In January 1916, the mapping and prospecting was finished. With maps of the islands, concentrated

plans of the deposits covering over 100 square miles and samples of the ore, two members of the crew of the Laddie crossed the sea ice

and made their way south to report to Sir William Mackenzie. Flaherty requested au expert mission to examine his findings and while he was awaiting their arrival, he concentrated on to the mainland

;

which had previously been a pastime. It is impossible to say exactly when Flaherty became conscious that his lifework was to be devoted to making films. One can see from his the filming

diary entries that Flaherty

was a natural [68]

artist

in words,

when not in-

FROM ORE TO AGGIE hibited

by writing

for publication.

He was

also a

good

violinist,

1 preferring to play without an audience. But these were skills which Flaherty brought with him to the North. He had learnt them as a boy. His on the other

film-making,

by no one and his methods as will be seen later, from John Goldman's account of editing Man of Aran and especially van Helen Dongen's accounts of working on The Land and Louisiana

hand, was taught

;

were unlike those of any other film-maker. It was Paul Rotha, pondering this and then reading Professor Edmund Carpenter's Story,

Eskimo.,

who had the brilliant intuition into Flaherty's creative method.

was the first appreciator of Eskimo carvings and drawings. 2 Flaherty had an admiration not merely for the products of this Eskimo Flaherty

art

but also for the philosophy that lay behind

it.

who agreed,

that there was an uncanny Rotha suggested to Wright, the Eskimo methods between described by Professor similarity

Carpenter and those employed by Flaherty. Carpenter, when consulted, endorsed

this

intuition

heartily.

incorporated it in her lecture notes and a film was made along these lines. Professor Carpenter's notes to this film express vividly the Eskimo attitude.

Mrs. Flaherty

later

Nowhere is there

is

;

life

reduced to

more its

difficult

than in the Arctic, yet when life and poetry turn out to

barest essentials, art

be among those essentials. Art to the Eskimo is an object: it is an act of seeing and expressing

far

more than just

life's

values;

it's

a

Peter Freuchen the explorer met Flaherty in the sub-arctic in 1923. Flaherty was by people at the trading post to play his violin. He said that he would play in the room next door and they could listen. While he was playing, one of the man out of sheer 1

asked

love of life got up and started to dance by himself. The man went on dancing after the music stopped and did not notice Flaherty come in from the other room. Flaherty's eyes c were blazing. That wasn't dance music/ he said. 'I didn't play for dancing.' And then, because the man did not immediately stop, he brought the violin down on the stove and

smashed it to smithereens. (B.B.C.

Portrait

of Flaherty.)

2

His collection of 360 carvings, considered one of the best in existence, was acquired by Sir William Mackenzie and donated to the Royal Ontario Museum in 1933. A photo graph of a typical Eskimo carving is reproduced in the Nanook Section, together with an Eskimo drawing of Flaherty filming. In 1915, Flaherty published The Drawings of Enooesweetok of the Sikoslingmit Tribe of the Eskimo, with the subtitle, "These drawings were made at Amadjuak May, Fox Land, the winter headquarters of Sir William Mackenzie's Expedition to Baffin Land and Hudson Bay, 1913-14'. These drawings have now been donated also to the Royal Ontario Museum, by Mrs. Frances Flaherty.

[,

'"

"? -

'

I/I/e

found

'Work

is

""-%^

this in Tennessee'

what they want

any kind of work*

>

,

'*$
The Vagrant Viking, Peter Freuchen (Julian Messner, 1953)* The Aran Islands,]. M. Synge (Luce, 1911). Man of Aran, Pat Mullen (E. P. Dutton, 1935)Elephant Dance, Frances H. Flaherty (Scribner, 1937)Forever the Land, Russell Lord (Harper, 1950). History of the British Film, Vol. 1

II,

Rachel

Low

(Allen

For note on the divergent lengths of the British and American

[291]

& Unwin,

1949).

versions, see p. 224.

THE INNOCENT EYE Life against Death,

Norman O. Brown (Wesleyan

University Press,

1959).

and:

The Film

Till Now,

PaulRotha (Funk & Wagnalls, 1950; Vision, 1960). and Sinclair Road

Documentary Film, Paid Rotha, Richard Griffith

(Faber& Faber, London, 1952

edition),

also:

Geographical Review (American Geographical Society, 1918).

New

York,

among journals, etc., which have been of value: British : Sight and Sound, Films and Filming, World Film News (defunct), Close Up (defunct), Cinema Quarterly (defunct), Sequence (defunct). North American: Film News, Motion Picture Herald, New York Times,

New Movies,

Canadian Newsreel, Variety.

Note: In 1934, the Sunday Referee (defunct), London, published in seven parts (29th July-9th September) what it called an autobiography of Robert Flaherty but it was in the main reminiscences of the in years

the

North which appeared again in

his

two

novels.

The

series

was

geared to the current publicity for Man ofAran: Isidore Ostrer, who headed the Gaumont-British Film Corporation, also owned the Sunday Referee.

ACKNO WLEDGEMENTS Note: The following first

list

was drawn up

in January, 1960,

when

the

MS was completed. Some of the persons and sources named may

have found appropriate inclusion in Arthur CalderMarshalTs preceding text. have retained them nevertheless because of the help so kindly given at the time. P.R. B.W. not, however,

We

First thanks, of course, go to Mrs. Frances Flaherty and Mr. David Flaherty for their invaluable help in supplying information and of this book, as well as their checking the original giving permis sion to quote so generously from their published works and those by

MS

Flaherty himself. From the first interview at Black

August, 1957, up

till

the

last

Mountain Farm, Brattleboro, in moment, David Flaherty has been to [292]

APPENDIX

6

which, in view of his many other commit are also much indebted to the Robert greatly appreciated.

endless trouble to assist us

ments,

is

We

1 Flaherty Foundation for making so much material available in the way of documents, copyrights, photographs, etc. All the way through the advice, anecdotes and information supplied thank him by Dr. John Grierson have been of immense value. for allowing us to reproduce some of his published work Of equal help all through the preparation of our book, both in long first-hand

We

and in correspondence, has been Richard

talks

Griffith,

Curator of the

Museum of Modern Art Film Library, whose own book The World him for of Robert Flaherty we have plundered so deeply. We thank his permission for so doing. Both Griffith and Grierson

knew Flaherty intimately and we are fact to the that have read our original and set their indebted they

MS

seal

it, we should have been unhappy. to many others who knew Flaherty as a friend grateful

of approval on it. Without

We are also

who worked with him, which was

or

them

often the same thing.

Some of

ample notes or appreciations specially written for the purpose and most of those listed now have read our original MS either in part or in whole sent us

:

Osmond H.

N. G. Davidson, Helen Durant (van Dongen), John Monck (Goldman), Newton A. Rowe and John Taylor. Richard Arnell,

Borradaile, J.

J. P. R. Golightly, Irving Lerner,

Of these, we specially acknowledge our

debt to Helen van

Dongen

our disposal her production-diary kept during the Louisiana Story and for various unpublished notes she made making of for a book at the time she worked on The Land. Mr. John Monck, who as John Goldman edited Man ofAran, sent us an admirable series of there has been only specially-written notes of which unfortunately

for putting at

space for a short extract. Many others have supplied us with memories and anecdotes, either in personal talks or by letter, of this remarkable artist who is the subject

of this biography. They are:

Edgar Anstey, Teddy Baird, Sir Michael Balcon, Cedric Belfrage, Hans Beller, Sir David Cunnynghame, T. H. Curtis, Ernestine Evans, Hugh Findlay, H. Forsyth Hardy, Winifred Holmes, the Earl of Huntingdon, Augustus John, Denis Johnston, Boris 1

Now called International Film Seminars Inc. [293]

THE INNOCENT EYE Kaufman, Richard Leacock, Albert Lewin, Margery Lockett, Russell Lord, Evelyn Lyon-Fellowes, E. Hayter Preston, Adi K. Sett,

Others

Olwen Vaughan, Harry Watt and Herman G. Weinberg.

who have helped in many smaller ways include:

Ralph Bond, Hopie Burnup, Prof. Edmund Carpenter, D. R. C. Coats, John Collier, Alicia Coulter, Campbell Dixon, Edward M. Foote, Willi Haas, Frank Horrabin, R. V. H. Keating, Arthur Knight, Lord Killanm, C. A. Lejeune, Carl Lochnan, Jonas Mekas, Hans Nieter, 'Pern', W. R. Rodgers, Col. H. A. Ruttan, David Schrire and J. R. F. Thompson.

We also acknowledge the following

:

Miss Eileen

Molony and Mr. Michael Bell for the loan of B.B.C. and scripts telediphone recordings of talks made by Mr. and Mrs. in London. Flaherty Mr. Oliver Lawson Dick for scripts and tape-recordings of the B.B.C. programme Portrait of Robert on 2nd September, 1952.

Flaherty,

produced by

Sir Arthur Elton for access to an unpublished MS kte Sir Stephen Tallents relating to the history of the

W.

left

R. Rodgers

to

Kim by the

Empire Marketing Board Film Unit. Mr. W. E. Greening for permitting us to read parts ofhis unpublished MS of the life of Sir William McKenzie. Among various organizations and the like to which we are indebted for their co-operation are :

The Museum of Modern Art Film Library, New York, and the National Film Archive, London, for their screenings of the Flaherty films ; the British Film Institute for the help of its Information Depart ment; and the National Board of Review of Motion Pictures, New York, the Royal Geographic Society, London; and the Central Office of Information, London.

We make acknowledgement to the following publishers, other than those mentioned above, for permission to quote

from

their

books

:

My

Eskimo Friends (Heinemann), Samoa Under the Sailing Gods (Putnam), White Shadows in the South Seas (T. Werner Laurie), Mourning Became Mrs. Spendlove (Creative Age Press), Footnotes to the Film (Lovat Dickson), Grierson on Documentary (Collins), Elephant

Boy and Man ofAran (Faber & Faber), Eskimo (Toronto [294]

APPENDIX 6 University Press), Best Moving Pictures of i22-23 (Small, nard), Forever the

Land (Harper

& Brothers),

Cinema

May-

(Pelican).

Among newspapers and journals from which, we Lave quoted we are obliged to :

The Guardian, The Observer, The

Spectator,

The

New

Yorker, Sight

and Sound, National Board of Review Journal, World Film News, Close Up, Sequence

For photographs,

and Cinema

Quarterly.

we thank the following

:

Mrs. Frances Flaherty, Wolfgang Suschitzky, Henri Carrier-

Edmund Carpenter, Arnold Eagle, John Monck, Richard Avedon, Hayter Preston, Osmond H. Borradaile, and the Standard Oil Co. (N.J.), Cosmo-Siteo Co., the National Film Archive, London, the Royal Ontario Museum, and especially Bresson, Prof

the Museum of Modern Art Film Library for making available to us for selection such a magnificent number of prints.

We also remember with gratitude the generous help given in the United States during the summer of 1957 in the early days of research by the late Mrs. Irma Bernay. Finally we thank those of Flaherty's old friends in England who helped make possible the completion of the original MS and its many weeks of revision in 1959.

Addendum by

Arthur Calder-Mar sh all

:

Apart from sundry of those mentioned above, especially Edgar Lawson Dick, John Grierson, Newton

Anstey, Michael Bell, Oliver

Rowe, and John Taylor, I would like to record my thanks to Clare Lawson Dick, Lady Elton and Oliver Vaughan. March, 1963.

INDEX Note : The Appendices are not included.

Acoma Indians

Belcher Islands, Hudson Bay, 35-39, 49, 53-61, 63, 64, 72-74, 77, 83, 87, 109 n.,

film, 123, 127, 176, 177

Active, The, 59

Adams, Maude, 121 Admiralty charts, 60, 63, 65 Agate, James, 175 Agricultural Adjustment Administration (Triple-A), 190, 193, 197-9, 223

Akeley film-camera, 79, 108, 109, 127 American Geographical Society, 76 Ann Arbor, University of Michigan, 238 Anstey, Edgar, 139, 175 Arabian Nights, The, 17 Aran Islands, 141, 142, 143-5, 147

n., 148, 149, 151, 159, 162, 163, 165, 166, 168, 178, 180, 186, 249 Arctic Circle, 150

209, 212 Belfrage, Cedric, 142 Bell Ho well film-camera, 55 Bell, Clive, 133 Bell, Michael, 18 n,, 19 n., 174 n., 233 Bell, Monta, 180, 181

&

BeU, Dr. Robert, 37 Belsen concentration camp, 197 Ben-Hur, 94 n. Ben-Hur (silent version), 122 n. Bennett, Arnold, 83 Benson, John Howard, 210 Bicycle Thieves,

247

Amflex film-camera, 220

Biddle, George, 99 Big Parade, The, 122 n. Biro, Lajos, 177, 179 Birth of a Nation, 93, 94

Asquith, Anthony, 134 W. H., 171

Blackheath Studio (GPO), 171 Black Mountain, Bratdeboro, 202, 243

Army-Navy Magazine, 204

n.

Arnell, Richard, 198

Auden,

Blue Bird, The, 166 Blue, Monte, 123

Balcon, Sir Michael, 19 n., 143, 151, 155, 177 Bali, The, 124, 125 Ballantyne, R. M., 19, 39 Bambridge, Bill, 126

Bonnage, 194

Barrett, Wilton, 117

Borradaile,

Barry,

BBC,

198 London, 18

Bodnariuk, Stefan, 23 1

Bond, Ralph, 166 Bontto the Bull, 176, 208 n.

Osmond

H., 177, I7&n., 180,

183, 188

Iris, 96",

n., 19 n., 55 n., 67 n., 69 n., 101 n., 134 n., 142, 145 n., 171, 174 n., 178 n., i87n., 233, 247, 248, 249 n.

Botticelli,

250

Boudreaux, Joseph, 214, 226 *Bozo, the Bear', 233-7

[297]

INDEX Bratdeboro, Vermont, 9, 10, 186, 187, 202, 205, 230, 242 Brave Bulls, The, 127 n. Bridge, The, 194 n, Brighton Aquarium, 164 n. British. Board of Kim Censors, 163 British.

British

Commercial Gas Association, 187 documentary -film movement, n,

132-40, 166, 167, 175, British

Him Institute,

1 86,

231, 232, 240

Brunet,

Madame, 92

Brussels

Film Festival (1949), 231

Bryher, 119 Buffalo Bill Cody, 85

The (book),

30, 185, 186,

187 Carpenter, Prof. Edmund, 54 85 n. Carroll, Lewis, 171 Carter, Huntley, 165 Castano, Mr., 186

n., 69,

72

n.,

Curtis, T. H., 24, 25, 27 Cyrus Eaton, Co., 54 n., 72

Challenger, H.M.S., I39n. Chaplin, Charles, 184, 229

Chelsea Hotel, N.Y., 241, 242, 243 Children's Film Foundation, 224 n.

Chopin, 22 Cinema The (Pelican), 77 n., 83 n., 84 92 n., 93 n., n