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mited outlook and by stunted artists themselves, that people don't like good pictures. They do, if not always for the same reasons that you or I do. The}^ don't like dishonest pictures, or pretentious, ''arty" ones. I have recently seen an audience restless before the trickeries of Gance's Napoleon when they took quietly, with appreciation, the real audacities of Dreyer in La Passion de Jeanne d'Arc, a film that, incidentally, has made a tremendous profit. People like good pictures, when they can get them, and it is not always the managers' fault that they can't. Mr. Ogilvie's greatest difficulty is not the public, but the man who looks after the public, the censor. This institute of inhibtion has banned La Tragedie de la Rue and Joyless Street for pubHc exhibition. The film Society gave this latter film once, but it was cut in such a way that when I saw it later in Brussels, I saw almost another film, neither version being the correct one of Pabst.
The duties, again, are extremely high, and so against a man bringing in foreign films of any but the most obvious general appeal. It cost altogether €150 when Waxworks was first brought into the country, Mr. Ogilvie told me. This is a lot for a manager to risk, as Mr. Ogilvie would have to risk it. Sixty pounds, he said, w^as all very well. One could show the film for a fortnight and lose nothing, but it would need a run of a month to pay for such a duty on a film. It is not that the public do not respond (while I was there, each time, the telephone rang constantly. . . . Six seats. . . . Four seats. . .what time does the film come on. . . .) but simply that these duties are
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