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234 the house that SHADOWS BUILT
Cabiria and Quo Vadis, films which no one has as yet exceeded for scenic beauty.
No comparative statistics of early exports and imports survive. It seems likely that European films had for a time the favourable balance of trade. Then came our “Westerns.” In old days the American Wild West dime novel enjoyed a great vogue in Europe. Melodrama was its essence; and simple souls love that. To the routine-bound European townsman and peasant it carried news of a wild, free atmosphere “where men are men.” The Western films played on the same tastes. They were a furious hit, especially on the Continent. During the first stages of the European catastrophe, the French built in Paris their “ Pantheon de la Guerre.” Panels distributed through this panorama portrayed the leading statesmen and generals of the Allies, with representatives of the people in their national costumes and plying their typical tasks. When we entered the war, the French painted a panel for us. A group of cowboys in chaps and of Indians in war bonnets represented — exclusively — the American populace. The Western film stood responsible for that!
Presently, the balance of trade swung decisively our way. In the days of the Trust, such pioneers as Blackton saw the opportunity abroad, and worked to extend and to solidify the European market. As the Trust disintegrated, our foreign distribution passed into a period of confusion, though sales went steadily ahead. When