Two-thirds of the way along The Road to Singapore
(1931)—not the Hope and Crosby entry, but one of those tropical-hell melodramas that proliferated like exotic weeds in the early thirties—comes this sequence that happens to travel between the Camera Moves
(this would be #7) and Reverses
(#3) series. Restless wife Doris Kenyon has just rebuffed local lothario William Powell; they've retired to their respective bungalows, but “there’s no use trying to sleep with those drums going.” So the camera snakes across the jungle, performing a series of switchbacks between live action and papier-mâché landscape to arrive at a long-distance eye-lock that signals the inevitable.