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Americans like to be thrilled — even a little shocked, perhaps, until nearly the end of the last reel — but then the worst villain must reform — and even Sappho was made regenerated.
Thru the Looking-Glass of Films
The French Viewpoint and Ours By DOROTHY B. NUTTING
I
SN'T there an ^Esop's fable about two frogs who started a-traveling and got as far as the top of the huge hill they had always considered the edge of the world — only to find that
the other side was just exactly like theirs? And didn't they go back to their own pond, perfectly contented there at last? Or am I thinking about the song about the "bear went over the mountain, to see what he could see — and the other side of the mountain was all that he could see" ?
At any rate, the point I'm trying to make is that, after all, we mortals are pretty much alike, whether our skins are dark or light and whether we happen to live on the east or the west side of the Atlantic.
Lately a great deal has been said about the difference in moral and mental
The French like films which display realism to_ the
bitterest degree, and which deal, often, with subjects
the Anglo-Saxon would leave mostly untouched, such
as the "eternal triangle."
standards between the Latins and the Anglo-Saxons — the little matter of the "happy ending" demanded by the latter especially and the causes therefor. It seems to
me that the best way to a completer understanding of these differences might come thru an examination of the films of the respective peoples, for, after all, as some one has aptly said, the films do little more than mirror a people or a nation.
The French, who are the typical Latins, of course are older in the family of nations. I'm not speaking of the League — it isn't a family yet — o n 1 y in the engaged stage, so to speak. They have had more time to develop their minds, their eyes and their appreciation than we have. We've been very busy indeed making ourselves comfortable before {Continued on page 106)
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