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ted, and events distorted in the cinemas. Xo one would want many scenes next door to the bathroom ; there is sue'" a thing as taste, (and absence of it is not made up for by prurience) but when such a scene does happen, why not let it ?
At the same time, not only England is odd. There is Ireland. Ireland's national feelings have to be considered, but so must her morals. In order to get A Woman of Paris shown in Dubhn, a neat little sub-title had to be inserted, explaining where Edna Purviance got her money from. Yes, an aunt died and left her a legacy, so she lived comfortablv in Paris !
There is America, too. Certainly there is America. She produces a ''flaming picture of a modem siren". She makes the Garbo a vamp and the British people cut hundreds of feet out of The Flesh and the Devil. Well, for Vaudeville to be shown in America, Jannings had to marry his dancer. That made it moral, so Kansas booked it. But of course the dreadful things that sprang from this alUance were a terrific indictment of marriage. The story was really less moral, onh' no one noticed it. ]\Ir. Fawcett, too, tells a stor}^ of The Scarlet Letter. This austere tale came to Quebec. But it wasn't austere enough, and Hester Pynne had to be made a widow.
Seastrom must have been surprised. It just taught a Swede not to put a native puritanical author on the screen ! But Seastrom probably was not thinking of Quebec when he made his film. WTiy should he have been ?
At the same time, he should have been. It is (clearly) not enough to go ahead on a movie, making it as good as you can.
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