The House That Shadows Built (1928)

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ZUKOR PLOTS HIS FUTURE 147 feelings or the feelings of your church. I thought I’d please you. If you get my licence withdrawn — and you can do it — I won’t say you’ll quite ruin me, but you’ll hit me a hard blow.” The priest’s face worked for a moment. Publicans and sinners . . . And the greatest of these is charity. . . . “All right, my boy,” he said at length. “I think I won’t report you !” Adolph Zukor had proved one point to himself. An audience would sit fascinated through three reels. “ But this is an exception,” said the doubting Thomases. “Religion and all that . . .” Zukor’s common sense told him better. Religion is not the strongest interest of the theatre. If that were so, Broadway would be showing miracle plays and mystery plays instead of sex and melodrama. Longer films, as well as better films — this idea grew in his mind to the point of obsession. All his group in Fourteenth Street, especially Frank Meyer and AI Kaufmann, became converts and disciples. Once, enthused to the point of action, Meyer and Kaufmann visited Morris Kohn and invited him to back them in the production of long films. Kohn liked the idea. But just then his own affairs were tangled; he could not raise the ready money for such a venture. Apparently Zukor did not yet dare entertain the idea of producing himself. For all his pluck, his valorous attitude toward life, he has a humble mind. This manifests itself often