By Alfred Jarry
Le nine décembre 1896, un jeune homme crée le scandale en faisant jouer au Théâtre de l'Oeuvre une farce truculente, Ubu roi. "Merdre!" Sitôt le preferable mot lâché, l. a. salle siffle, hue, rit, proteste : le public est insulté, les conventions théâtrales bousculées, le ugly s'introduit dans le théâtre d'avant-garde. En mettant en scène les tribulations du Père Ubu - personnage cynique et ordurier, prêt à tout pour s'accaparer le pouvoir -, Jarry donne naissance à un véritable mythe. Blague de potache témoignant de l'inventivité d'un lycéen rennais ou "pamphlet philosophico-politique à gueule effrontée", selon le mot d'un journaliste d'alors, Ubu roi est d'abord un feu d'artifice verbal qui, plus d'un siècle plus tard, n'a rien perdu de sa saveur.
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Just keep sorting them and something inside you will tell you where to put them. ’ ‘I am because I know. I’ve been through it, too. ’ I was moved by Bill’s sympathy and understanding. He was a wonderful man, deeply sincere and committed to helping these men. I returned eagerly each day to his lectures. He was teaching me the art of communication, and rereading these lectures after all this time I am astounded by the amount of information that the men were expected to absorb in three weeks. When it came to their vital test, the strain proved too much for many and they were unable to do themselves justice.
We were lucky to find the same gang two miles further down the line. In such faltering steps we started on the more exciting sequences of the film. The first was to be in the operations van. This contained the equipment to despatch the leather-pouched mail bags and receive them as the train continues its journey at sixty to seventy miles an hour. Quite an exciting process, visually. O. (Travelling Post Office), and there was no portable sound 26 Night Mail equipment in those far-off days. As there was considerable dialogue involved in the apparatus sequence we would have to trust to luck and put the voices on afterward—‘post-synching’, as it is called.
The simple fact is that we are all in each other’s debt. We must acknowledge it and pay it with respect and gratitude one to another. This is what we must get over. This is what documentary is all about. The compelling simplicity of such thinking was at the heart of Grierson’s mission. To inform: to open eyes to new perspectives, new ways of thinking about social problems. He was an extension of the Andrew Carnegie tradition and he applied it to the use of cinema. A well informed people was the first essential of a sound democracy.