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Let us not exaggerate. I, for example, defend the cinematograph.
And, in defending the screen I do not intend to deny the social consequences, sometimes evil, that it has been able to exercise and exercises ! But I remember that the wonderful invention of Edison, of Lumiere, and of Marey, has only lived for thirty years. Does not this time represent a brief and transient moment in front of the perfecting and establishing of so great a means of amusement ? Well, one cannot hesitate in giving an opinion ; the cinematograph of ten years ago compared to the cinematograph of today, is with regard to social morals and education of customs,, as the Pao d'Assucar which dominates Rio is to the Himalaya !
During the first years of the cinematograph it was an instrument in the hands of uncultured persons, industrials without any faith or any human and organising spirit ; they were the eternal, the fatal speculators of the new revenue of civilisation ! This has always been the case. Even the first producers of automobiles were men who were driven very quickly from the market by the great and real automobilistic industry ! To speculation succeeded the scientific organisation of the industrial production. In the cinematograph this happened in a more complex manner. The cinematograph, owing to its very character, attracted actors and actresses who knew as much about morals as 90 % of men know Sanscrit, and through the pressing need to amuse the people at any cost and of amusing the special audiences that flocked to it (let us remember that for about twenty years writers, men of letters, political and prominent men were ashamed to be seen in a Cinematographic Hall, considering the film a shame and depravation compared to the theatre). This is why the Cinematograph turned out detective, adventurous or worse films, exalting and illustrating the mortal sins of human beings and so on. And it is the logic, fatal consequences of such cinematographic projections that it should have a great and incalculable effect on the formation of spirits and tastes, of habits, not always good and very often evil, of the spectators, and it is only logic that this kind of production (like the dramatic and Granguignolesque scenes in a theatre vio
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