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suppose we couldn't with all those liabilities hanging round our necks. We carried on as long as carrying on was possible.
Now I must go back a bit for in unconscious hurry to get through with things which taste but sadly in my mouth I have passed over several matters of contemporary interest. While my troubles were gathering momentum, serious efforts were made by important interests to abolish the evils of block-booking and advance releases. At a special meeting of all three associations a joint committee was formed and a better plan was drawn up but does not appear to have had very much effect upon the trade which gradually righted itself. It was at this meeting that poor FrieseGreene died so tragically in the middle of making a passionate appeal for unity in the trade.
Friese-Greene is sometimes described as the inventor of cinematography. I never met him but evidently he was a man of great personal charm and of vivid ideas which were not always practicable. He was a most successful portrait photographer but abandoned that for other things. He took out seventy-six patents on a most extraordinary variety of subjects. If enthusiasm could of itself provide a fortune he would surely have died a rich man.
The greatest film of this year (1920) was Charlie Chaplin's The Kid which richly deserved even the great popularity it received. The Swedish Biograph films were making a continuous appeal; subjects with high ideals and no truckling to the lower tastes or mere silliness of the audiences. And Victor Seastrom of Sweden was a fine director. It was a great pity that he was lured away to America. That also happened to a great German director. In both cases their genius languished in a foreign atmosphere or perhaps undue and unsympathetic handling, and their work soon began to wane and never regained its early beauty and vitality. Transplanting was not a success and Europe lost what America failed to gain.
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