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Theatrical Film Critique Free A Future Art From A Present Industry OUR PURPOSE: To analyze with fearless sincerity the current films representative of present production, remembering two facts: First and foremost, that, theoretically, we are concerned with an art, exclusively visual in its appeal but for its musical accompaniment, and limit- less in possibilities because it should be a composite of various time-tried arts. Photography and pictorial composition applied to a subject in movement be- come cinematography; literary and dramatic expression become, respectively, sub-titling, including art titles, and the registration of action and emotion on a silent screen. With the highest possibilities of these combined arts as a background against which to throw present production—granted to be still commercial rather than artistic in aim—we wish to point out clearly the good and bad in films as they come from the studios, remembering always our second fact: that the photodrama public, like any public, is a composite of varying human capacities and understandings, demanding therefore legitimately a range of screen production from Rinehart sentimentalism to Galsworthian realism. This department, therefore, addresses itself to those thinking individuals who are logical enough to be patient with the meagre material at hand from which generalizations about a future art must be drawn, and reasonable enough to recognize occasional excellence even though it be but relative. Amid the discouragingly huge and endless output of films maudlin with sentimentality, clogged with distraught symbolism, stuffed with the acting formulas of grimac- ing puppets, and based on the continuity of a jig-saw puzzle thoroughly shuffled and with pieces missing—there are a few significant, or at least forgivable pictures "happening in" more and more frequently. The "Movies," this two- decade-old brat of man's creative ingenuity, occasionally emits something more promising than an infantile howl. On the part of those who catch this promise, this department calls for intelligent optimism and understanding cooperation. Incidentally, after the first issue, we aim to be an up-to-date and reliable directory from which the intelligent public may select an evening's film—if it chooses to risk dependence upon our opinion.—M. F. L. This department is conducted by a member of the English faculty of The University of Chicago. Correspondence is invited. All communications will be handled by the departmental editor personally.—The Editor. 27