Coming from the oh-so-sweet period that is the earliest sound cinema, Pál Fejös uses silent film grammar for entire sequences that are otherwise coated merely with background noise, diegetic and non-diegetic music, or silence. It's a veritable lesson in how filmmakers, certainly those of today, can quite organically avoid dialogue where images are more potently simple, more universal. And indeed it aims for universality, chiefly with its story of love and play overcoming depression (and the Depression, felt all over…