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14 CELLULOID
stories are of necessity employed for film material, being thrust on every type of audience without discrimination. This, in my estimation, is gravely abusing the medium's main basis of appeal and can only end in disaster.
At the moment most producers are trying to make films calculated to appeal to all types of audience, which is excessively short-sighted in that they play too high for the sensation-seekers and too low for the more intelligently-minded person. Producers have not the wit to see that unless they are fortunate enough to have a simple story of universal significance, they must direct their appeal to either one or other of the different classes of public, and cut the cost of their films according to the box-office value of the public in question. When Universal make such a picture as Resurrection, they lavish money on its production in the hope that its expensive appearance will attract every type of filmgoer, with the result that they ensnare the sensationseekers but alienate those who have any regard for Tolstoi's story. On the other hand, The White Hell of Pitz Paluy which cost comparatively little to produce in comparison with most American pictures, appealed to a considerable audience. It was appreciated as a film directed with a certain amount of skill and intelligence and because it dealt with fairly credible facts and authentic pictorial material.
There can be only one solution to this problem and that is the specialist cinema movement. Whereas now the average cinema exhibitor in a large city sets out to draw every type of person into his house, in the future I believe he will concentrate on securing a