The high faluting talk of art for art’s sake and such high sounding expressions, placed on the lips of some picture magnates, is humorous enough to make the Gods of High Olympus crack a smile in view of the penny-grasping, public-be-damned attitude adopted when opportunity presents.

Twice within a month a big picture, meritorious in every sense, and one which the public which supports the poor pictures of the same producers should by every right have opportunity to see, has come out advertised as not to be released for general exhibition for a period of years.

Griffith started it with “Way Down East.” He stuck an exorbitant admission price down for the New York showing, and then advertised the picture would never be seen in any but the large houses in the large cities. In other words, that the real motion picture public, the real exhibitor, he of the small center, could whistle for this picture, but could pay for the inferior stuff instead.

Fox now comes forth with a masterpiece in the form of “Over the Hill.” And his ads carry a line that the picture will be seen in the first run houses only for the years 1920, 1921 and 1922.

The consummate gall of such maneuvers, even in this business where one feels like keeping a hand on his watch when in certain neighborhoods, is somewhat appalling even to those of us who should be hardened.

Mr. and Mrs. Public can see and pay for the ordinary film. But if, by chance, the lordly producer makes one of exceptional quality, then admission prices will be jacked up, exorbitant rental be demanded of the big exhibitor—and the small towner can do without.