Les Enfants du Paradis seems to me to stand head and shoulders above every other film of the year. I recommend it ... to anyone who relishes fine per… - C. A. Lejeune

I have spent the afternoon arguing with my old friend Alfred Hitchcock. Because we are old friends it was a long argument. And we did not, oddly enough, argue about his new picture, which I review, with some asperity, below. I did not like Sabotage, and Hitch," who never tries to persuade the Press against their conscience, didn't attempt to suggest that I should like it. But it is a long-standing custom between us that we should meet and eat and talk after every Hitchcock first-night.

For the kinema must please the women or die. The vast majority of picture-goers are women and always will be. The time o day is in their favour, to steal an odd hour from me afternoon; and woman, whose work lies at home, just as glad of the opportunity to escape from home for an hour us ma, whose work lies outside, is glad of the opportunity to be in it. The price too, is a woman's price, easily found. When a man spends money, he likes to feel he is spending; when a woman spends money, she likes to feel she is not.

For Mr. Astaire, along with Chaplin and Disney, is one of the only really significant trio that the cinema has yet evolved. These three are universal artists, at once masters and servants oi form which the whole world can assess and appreciate. It is possible that Chaplin his time, and Disney at the present, is the completer artist. It doesn't matter, Evaluations of this kind are little more than academic exercises, a sterile study, a conscript thesis. The important fact that Astaire, with his dancing, like Chaplin with his clowning and Disney with his drawing, has found a way of expressing an idea, a feeling, or even clean and acute perception of physical well-being, to millions of people who cannot follow his steps, understand his songs, or speak his language.