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16 MOTION PICTURE THEATER MANAGEMENT
Thomas A. Edison, it has leaped to the forefront of national economic and social life in the brief span of a single generation. What a long jump from the crude "store" show to such palatial operation as exemplified by the Paramount and Roxy theaters in New York !
The reason for the miraculous growth is the fulfillment of a universal, deep seated, public need. It is a simple fact of every day experience that the new institution is typically and essentially democratic, enjoying, in every quarter of the globe, the patronage of millions of people of all ages and interests, from every walk of life. It is not uncommon to see a Ford and a Rolls-Royce discharge their occupants, at the same time, before the box office. "The Covered Wagon" and "The Big Parade," acclaimed by the most exacting public of the great metropolis, stir equally the hearts of people in the most remote townships. For the motion picture theater has taken its place alongside the church and the schoolliouse. In the words of Cardinal Dubois, one of the most influential religious leaders of Paris: "The cinema will become a great and beautiful thing. The faith which I place in it to-day is quite justified, and I remain convinced that to-morrow it will even surpass our hopes, that it will truly be the grand silent voice of the day, and that through it the world will be a better place." People have found that it is just as important to laugh, and to be diverted generally, as to be good and learned, that enjoyment is as truly a part of life as morality and knowledge.
The motion picture does not pretend to be an educational institution, although motion pictures in themselves have made and will make themselves felt as factors in education. It is the function of the motion picture theater to furnish clean, wholesome entertainment; and those responsible for production recognize the fact that pictures must be wholesome if they are to continue to prosper, because the overwhelming majority of the people will not long accept anything that is not of high standard. The result is that pictures are not merely acceptable, but that many of them are inspirational and elevating. Those like D. W. Griffith's "The Birth of a Nation," Paramount's "The Covered Wagon," Metro-Goldwyn-Mayer's