The abrupt changes of scale, the use of overprinting, and the use of very short shots alternating between the spectators and the fighters made this film unusually complex for the Twenties.
When it premiered, Charles Dekeukeleire stated that the gaze of the spectators must adapt, to let itself slip along with the film to feel the fragments of various lengths.
[1] His work deals with race at times, for example in Terres brûlées (Burned Grounds, 1934), which chronicles an automobile journey through the Belgian Congo.
[2] Dekeukeleire published articles in reviews such as 7 Arts, Nouvelle Team, and The Latest News.
He is also the author of two books: The Social Emotion and The Film and Thought, Extra Light, Brussels, 1947.