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DOES HOLLYWOOD WANT WAR? 93
palaces of vice and crime. He grows so familiar with gang warfare that he concludes it is as common in Chicago as traffic blocks in London. He is sickened and fascinated so often by the faithlessness of American women that he comes to look upon them much as he does upon common prostitutes. And the constant examples of corruption of those responsible for law and order which appear in film after film cause him to be devoutly thankful that he was born in law-abiding England.
Is it to be wondered at that he mistrusts America, and sees danger in its every political move? His impressions, we know, are mostly wrong, but he cannot be blamed for holding them.
It amounts to this. The American film industry is so given over to the worship of the god of gold that it drags its own country through the mud to satisfy the basest instincts of the cinema-goer. Is it surprising that America has become a by-word for lawlessness and abandon throughout the world, and that so much mistrust separates and divides the aims of the two great Englishspeaking nations?
The misrepresentation is, of course, general. It is so general that it is unnecessary to go into details, beyond quoting the glaring example of what the cinema has done in distorting our ideas about China. Hollywood has created an impression of villainy around the Chinese and their country. Ninety per cent, of the Chinamen who figure on the screen are shown as cunning, intriguing, silent criminals plotting the downfall and death of their white enemies. Recently a correspondent in The Film Weekly wrote :
1 Some years ago I saw the silent version of Dr. Fu Manchu, and for a long time after I lived in the dread of seeing Chinese men. I hated them because I thought them cruel and cunning.'
This notion has become so prevalent that only recently the Chinese Embassy in London officially protested against the way in which the Chinese are treated on the stage and screen.