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Cinema Glances Over the European Studios
are therefore made to toe the line pretty sharply in considering the public, with results sometimes more humorous than serious. As an instance, some time back a film was showing on the Paris boulevards which represented the role of a janitor in a more or less contemptible light.
In New York, the audience would have smiled at the burlesque, but Paris was up in arms at once against the indignity against the noble profession. A meeting of the Union of Janitors was called, and an ultimatum was sent to the director of the theater ordering him to withdraw the reflection on their profession, ‘‘or else we will come with our brooms and sweep the place clean.” Another film, showing the taxi chauffeur as a modern pirate, aroused similar action by Taximen’s Union. T*he movie is’ taken seriously by the French public, and the exhibitor has to consider the sensibilities of his audience.
During the showing of “The Two Orphans” several riots occurred at the Cine MaxLincler, where it was playing, when bands of Royalists, asserting that several incidents in the film were an insult to French history, stampeded the show. When Griffith’s big film was stopped, the excuse given by the authorities was that the step was taken in “the interest of the public.” The color-line issue had been made a very heated one by American tourists during the summer, and the police were afraid that French resentment might lead to trouble at the theater in which the picture was showing. The public, and not the producer, is the real dictator in the film world in France, and the will of the public is law. In the absence of any new productions of importance this month, this sidelight in French film psychology may prove of some interest, not to those American producers who really wish to serve the public.
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Above: In the woman’s prison from Tolstoi’s “The Resurrection,” a cinegraphic production directed by Marcel l’Herbier. Left: Dimitri Buchowetzki, a prominent director in Stockholm
RUSSIA
An understanding of the psychologies of various audiences, different in every country, is a much more vital matter to producers than it would at first seem. The European movie producers are just now almost ready to give up in despair their, until now, ’futile efforts to invade the American market successfully. They are baffled by their failure. They have tried to stick close to American methods of produc( Con . on page 81)
Above: A desert shot from the French adventure serial, “The Green Diamond.” Left: The past and the present confront “The Second Mrs. T anqueray” in the person of Soave Gallone, the great Italian cinema tragedienne
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