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they kept the series going (and 'going* is a very mild way of putting it) for several years.
Perhaps it should be explained that the great aim and object of these Tilly girls, in their pictures, was to paint the town extremely red, and the joyfully disarming way in which they thoroughly did it was the great charm of these delightful little comedies. Mischief without any sting in it is the one unfailing recipe for child-story pictures. Fitz, who loves children as much as I do, knew just exactly how to bring it out.
When, long ago, a certain bright spirit cried out, 'Oh that mine enemy would write a book!' he was obviously inspired by an impious longing to tear that book to pieces. I may paraphrase that cry here with one just as heart-felt, 'Oh that my friend had kept a diary,' for I am up against the greatest difficulty, indeed, impossibility, of fixing the dates of a lot of the things I want to write about. Consequently, mine enemy, when he gets down to it, will have much to get his teeth into, and my friends are so much the poorer.
I would like to write about the different makes of film-stock, for instance. Film-stock is the one absolutely essential material of film-making, just as paper is the raw material of making books. Negative -stock is the highly sensitive film which is used in cameras — the 'paper' that the author writes upon — and the less sensitive positive-stock is that upon which the many copies are printed from the original negative; the 'paper' the book is made with.
It is primarily upon the quality of these raw materials that the technical quality of the finished pictures depends, and, since film-stock has been growing steadily better for fifty years, it stands to reason that it could not have been nearly so good in the beginning. The first piece of American negative-stock I bought was extremely thin at one end and four or five times as thick at the other. It was seventy-five feet long. Early Lumiere positive-stock frequently suffered from the same fault and had, moreover, the distressing peculiarity of turning deep yellow after a little while. Later on the Pathe negative-stock had greater speed than any other at the time, but was rather too 'contrasty' for my taste.
The film-stock makers had their own troubles, no doubt, and one of them was the difficulty of finding a suitable substratum — an undercoat upon the celluloid to make the gelatine emulsion adhere to it properly. One of the first of the film-stock makers to come into contact with me was a nice chap named Haddow, I
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