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In a review loaded with inaccuracies, he deplores the inaccuracies of the historical film. He declares that the motion picture makes light of sacred things, and two or three paragraphs farther on entertains us with a most caustic and cynical discussion on the theme of motherlove. Finalty, after a disgusted survey of the mobs who patronise the cinema theatre, he im^plores film producers not to underrate the intelligence of their public.
There is also tlie matter of vision. Strange to say, although this quality is ''sadly lacking" in the film world, it is also sadly lacking in the film critics. No theory is put forward until it has been projected on the screen ; the highbrow pen follows the studio product as cautiously as the baton of an impostor conductor follov/s an orchestra.
It would be rash, of course, to deduce from this that there is an}^ intelligence in the film world ; and it Vv^ould be blasphemous to laugh at our intelligentsia. On the horns of that dilemima no one dares to ask, when a particular film wins the approval of a particular critic who has hitherto maintained the screen to be a worthless medium, why he with his superior intellect and artistic susceptibility could not have foreseen, however dimly, some such imager}^ in mind as that which now faces him in reality.
Yet one di^.y somebody — perhaps some small boy demoralised by the pictures — will give the show away ; and then — what will happen ?
This bring us to the real danger of the cinema, a danger not to the infamous masses who support it, but to the famous
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