:32:00
that we get very strongly from
the Italian films of the late '40s.
:32:04
Here we have it, a very rare
and interesting example,
:32:07
in British cinema,
as early as 1937.
:32:16
(Day-Lewis) As the last, sad shot
of the funeral fades away,
:32:20
the audience is suddenly
transported to a different world.
:32:24
The sun gleams on the sea,
there are distant cries
:32:28
and the bleat of sheep
and rapid movements of tiny figures.
:32:31
It is the perfect contrast.
:32:37
(Whooping and bleating)
:32:40
(Whooping continues)
:32:45
Hardly have the audience seen
enough of the sheep-run sequence,
:32:48
but enough to see that every soul
on the island is busily engaged,
:32:52
when they are switched to
the meeting of the two lovers,
:32:54
a tranquil, glowing scene among
running waters and yellow iris.
:32:59
Another contrast,
:33:01
but a part of the run.
:33:33
(Whooping)
:33:36
The sheep run
has now a definite purpose.
:33:39
It changes the tempo
at the proper moment.
:33:42
It creates unique atmosphere.
:33:44
It provides a shield for
the meeting of the lovers,
:33:46
by its contrast of busy action
with complete calm.
:33:51
It is no longer
only pictorial and instructive,
:33:54
it is dramatic,
:33:56
and a necessary part of the film.
:33:59
This was done by cutting
the two episodes together.