It has not the touch of the creative imagination.

We are overwhelmed with a whole van of furniture.

Now the mechanical or non-human object, beginning with the engine in the second chapter, is apt to be the hero in most any sort of photoplay while the producer remains utterly unconscious of the fact.

Why not face this idiosyncrasy of the camera and make the non-human object the hero indeed?
Not by filling the story with ropes, buckets, fire-brands, and sticks, but by having these four unique.

Make the fire the loveliest of torches, the water the most graceful of springs.