The House That Shadows Built (1928)

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CHAPTER XIX A CONQUEST OF WORLDS 1 HAVE mentioned the European war casually, as though it were an episode only faintly pertinent to this subject. In fact, it affected profoundly not only Adolph Zukor’s enterprises but all that bizarre business which he was leading toward the status of a major industry. Even in the primitive age when the screen presented only scenery, street episodes, and trick effects of photography, producers trafficked back and forth across the Atlantic. We witnessed in New York the waves breaking on the chalk cliffs of Dover; London saw our fire department in action. Apace with us the Europeans, and especially the French, passed from scenes and tricks to stories. During the first decade of the century French films, by all artistic standards, excelled ours. I have told how, flaunting our superstitions, the French dared in 1911 to produce the four-reeler Queen Elizabeth. Nor did they hesitate to exploit their actors. Max Linder, under no curse of anonymity, anticipated Charlie Chaplin as an artistic comedian. Presently, British, Italians, and Germans were producing for the market. Indeed the Italians, taking advantage of their history and their historic backgrounds, advanced to the full-length *33