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238 THE HOUSE THAT SHADOWS BUILT
The Latins dislike to see the logically unhappy outcome of a situation twisted illogically to bring the scattered family together, the hero and heroine into each other’s arms. It clashes with their inborn sense of form and art. So almost from the birth of the foreign trade in long films, producers were making two endings — one for the United States, Great Britain, and the Colonies, another for Continental Europe, South America, and the Orient. Foreign importers and jobbers of American goods used to complain that our manufacturers refused concessions to the tastes and wants of alien races. Had leadership in our motion-picture business remained with the old stock, Holl3nA^ood might have made the same general mistake. But Zukor, and all the men who followed him into larger fields, were either born in Europe or only one generation removed from its soil. They had the international mind.
^ When the world ceased firing, American films were travelling by every conveyance from aeroplane to llamaback into the atolls of the South Pacific, the highlands of the Andes, the jungles of Africa, and — of course — even the smallest hamlet of western Europe. How widely the trade has spread stands illustrated by one scene in De Mille’s The King of Kings. The Christ stoops and writes in the sand with His finger. The inscription was part of the film itself; it could not be replaced with a translated title. So the director had this scene photographed twenty-eight times for twenty-eight languages