MEN OF THE TREES 



Johnson's delightful films of hunting in Kenya, may 

 have gained a very good impression of what big game 

 looks like close up. These hunters with the camera have 

 made thousands of folk on five continents intimate with 

 these fascinating people of the plains. Those who have 

 seen them on their way to drink or grazing in some 

 shady nook unconscious of the camera man behind his 

 blind ^ and those familiar with these remarkable film pro- 

 ductions have already a very good notion of the animals 

 and their ways. But the picture is incomplete without 

 its setting. One must sense the very atmosphere of the 

 plains, with African sunrise and sunset. To complete it 

 all one must take in the whole perspective, — the dis- 

 tant forest and the lone mountain, with its foothills 

 shrouded in mist, while high about the cloudy film the 

 great white snow cap of Mount Kenya glistens in the 

 sun. 



Forgetting the noisy, shaking train, let your eyes wan- 

 der over this great expanse and then return to the near 

 view — the "close-up" wild life — bunches of plump 

 zebras with shining coats tautly sleek; hundreds of 

 "Tommy," those delightful little gazelles who, forever 

 on the alert, never stop wagging their tiny tails. A little 

 farther on you will see herds of kongoni, loping along 

 in their comical "dot-and-carry-one" gait, while every 

 now and again an old buck will stop to stare laconically 

 at the, by now, familiar train. Is he suspiciously spotting 



^ N. B. "Blind," a screen of bushes beliind which the cincmatographer hides 

 himself and camera for the purpose of recording "close-ups." 



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