“In Le diamant noir – film of this period which, for certain aspects, foresees in a clearer way than others, Machin’s last period, in which domestic animals play an important role – we have a beautiful sequence with a big entrance gate (yes, it’s a variation on the fence!). The village people are gathered in front there; then the group scatters a little; the gate opens; the police inspector’s car (which comes from behind the cine-camera) enters into the park. Everything is in one shot, of course: the scene is full, and yet at the same time sober, with a net articulation of the elements. With a master’s hand, Machin makes scenes like this, which are not new and are none other than connecting scenes.

A connecting scene, a scene like that? Shortly afterwards, the protagonist is accused of the theft of the ‘black diamond’, he leaves the house through the gate, which is opened towards the inside this time, going past the group of curious people which is breaking up. That which began with a gate must also end in the same way: in fact, towards the end of the film, we again have two sequences which take place in front of the entrance gate. No doubt for reasons to do with musical composition, seeing as the two actions could easily have been in other places. The innocence of the young man is proved. The baron and his daughter leave the park by car going through the gate. In the end, it is in front of the gate that one of the villagers gives the gardener the newspaper clipping where the protagonist’s daring adventures in Africa are spoken about”. (Eric de Kuyper)