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I56 CELLULOID
national interest for the American citizen was not reckoned sufficiently remunerative to warrant their production on a large scale. With the coming of the talking film, however, this barrier was removed, and the Americans, obliged to concentrate on retaining a firm hold on their own market, have returned to the conquering of the wilderness of the West as a certain attraction to the patriotic American citizen and his excelsior ideology.
Practically every American company has recently made a point of including at least two or three Westerns on a spectacular scale in its schedule. Metro-Goldwyn-Mayer brought out King Vidor's Billie the Kid, a romanticized and rather dull version of that famous outlaw's life; and a semihistorical picture, The Great Meadow, based on the Elizabeth Madox Roberts novel of the settlement in Kentucky in the time of Daniel Boone, when the Indian menace added still further dangers to the exploits of the early pioneers. Paramount have made a long string of such films, beginning with The Virginian (still to my mind the best of its kind) and continuing with rather inferior copies like The Texan, Gun Smo\e, The Conquering Horde, Light of the Western Stars and Fighting Caravans, the latter telling the story of the great treks made from the East to the West to carry provisions to the new settlers in California. From Fox there have come The Big Trail and its companion picture, The Sante Fe Trail, both produced on an enormous but uninspiring sensational scale; while others, like Shadow Ranch and The Lone Rider, less epic in aim and more reminiscent of the