Possibly no one other thing has done so much to cause irritation between Canada and the United States as the film plays. As most of those used in Canada are manufactured in the United States, the jingoism they reveal arouses constant anger. During the war film plays were used as propaganda to arouse the American spirit and to awaken a pride in the achievements of American soldiers. Naturally these plays did not emphasize the heroism of the British and Canadians, and when exhibited in British territory, purely as a business venture, they did harm that no one stopped to compute. They earned money for their promoters and for the local movie houses, so what more need be considered? In the United States their political effect was admirable. They roused the war spirit of the people and stirred national pride. No one apparently took the trouble to give a thought to how these propaganda films would look to the returned soldiers of Canada and to a people nerve-racked by war. They would earn additional money in Canada—so let them go. Listen to any Canadian who is expressing ill-feeling toward the United States, just now, and you will find that nine times out of ten the irritation can be traced back to the movies.

Wishing to learn if it would be possible to remedy this international evil I decided to go to the fountain-head of the trouble. A friendly publisher arranged to have me meet one of the master minds in a film-producing company of world-wide activities. The modern Prospero would see me at 3.30, in his office in one of "the cloud-capped towers." Knowing that I must shake off all philosophic languor for this interview I went at it as if I were going to make a running jump of a new kind. A mile away from my destination I climbed into a high-powered car (borrowed) and approached the great man's office at the speed limit. An express elevator shot me up to the proper floor and I burst into the presence of the outer guard. By this time I had acquired the necessary momentum and, in reply to his swift, interrogatory glance, snapped out a card and "flashed."

"Mr. Swiftbrain—appointment—3.30."

He grabbed a telephone, repeated my claim of an appointment, listened a moment, then waved me to an upholstered chair that looked rather better than the ones from the Kaiser's Throne Room that are now for sale in New York.

"I am to send you in in five minutes!"

I was glad of the respite, for it would enable me to recover my breath. Office boys who were in the waiting-room—ready to "Post o'er land and ocean without rest" in obedience to the autocrat of the switchboard—were so full of the jazz-time spirit of this temple of the movies that they couldn't keep still. Even when resting, their feet beat time to some inaudible, syncopated rhythm.

During my five minutes of probation much business was transacted. Trembling writers of scenarios entered, left their manuscripts, and passed out. Girls with handfuls of documents minced in and out passing from one department to another, and each carried herself with the air of a film queen. Hasty young men registering "urgent business" passed through with the air of a Douglas Fairbanks or Dustin Farnum. Their well-tailored coat-tails streamed back like the robes of Hyperion when

Suddenly I heard the snap of a gold watch-case and an authoritative arm shot out, pointing to the door through which the main traffic was passing.

"Down to the far end! Turn to the left!—Room Umpty-Umph!"

Rising as if from a catapult I fell in step behind a hasty edition of Fatty Arbuckle. When I reached the properly numbered door and opened it, I was met by a man who knew my name and business. He registered "welcome" and waved me to a chair. I accepted the courtesy and registered "attention." He bounced back into his swivel chair and registered "candor." And he was astonishingly candid.

Movie plays are a purely business proposition. It made him sick to have people talk about ideals and art in connection with them. It was their business to give the public stories that would grip them and make them want to see the shows. If the people felt like hating any one or anything, give them plenty of hate stuff and play it up as long as it fills the houses. It is not their business to educate. They are practical business men, out after money.

He presently interrupted his monologue to answer the telephone, which had jingled at his elbow. I suspect that the interruption was part of the routine of the office. Anyway, I got my cue. He was to see his next visitor in five minutes. Resuming his monologue he impressed on me the fact that the one thing the movie firms are after is stories that will grip the public and make them give up their money.

Then I got up and registered "gratitude" while he registered "Don't mention it." We did a close-up hand-shake and I passed through the door. Returning toward the front entrance I was quite in accord with the spirit of the place and pranced like a horse with the spring-halt.

That, I think, is a fair presentation of the spirit and atmosphere of the fountain-head of the movie shows that are pleasing the people of the United States and rousing the wrath of Canadians. Only by giving a touch of burlesque is it possible to indicate what is done or how it is done. Here we have the greatest moulder of public opinion in the world—infinitely more powerful than the press because it makes emotion visible—and yet it is without any purpose higher than the grasping of money. There is no George Brown, Delane, or Greeley to use this tremendous power for the good of humanity. Sordid, exciting, without conscience, it is bad enough when devoted merely to money-making; but when used for purposes of propaganda it is a public menace. The dollars of the propagandist are just as good to the promoters of film plays as those of the public, and when one can get both it is a triumph. So, hurrah for the scenario that will get the support of the campaign fund, put across politics, either national or international, and at the same time win the nickels of the public. Get them going and coming! That is the motto! Never mind what the results may be—other than those that show in the box offices.

Of course these reflections are inspired by what I found in the United States. Now let me tell you something about Canada, where the movie business is in its infancy.

By a curious blunder I was invited to see a new film of which a private performance was to be given. It is seldom that I have ever seen anything so amazing as this movie show proved to be. The story was highly emotional and was enough to rouse the wrath of any one against the aliens in the Dominion. The political propaganda stuck out like a sore thumb, and if I had swallowed its presentation of conditions in Canada, I would have been quite ready to vote for the War Times Election Act or anything else that would suppress every one who did not support Imperialism and a lot of "isms" not nearly so respectable. But I had been through the West and had first-hand knowledge of the facts that were distorted in this play. It merely aroused laughter. It was what political experts would call "coarse work," but perhaps the public will never see it in all the rawness of that first performance. I was assured that it was to be edited and amended. My investigations afterwards forced from a responsible representative of the high-tariff interests a frank admission that the play already had political backing and that the private view I had inadvertently seen had been put on for the benefit of a selected audience of magnates and to get the support of the business interests.

These experiences have convinced me that irresponsible movie shows must be brought under control. It is not enough to have them censored so that immoral and pornographic plays may be kept from polluting the youth of the country. Some means must be found to make some one responsible—just as an editor or publisher is responsible—for the reckless political impressions they convey.

I am inclined to think that the part played by the movies in causing irritation between the United States and Allied countries is inadvertent. We all did jingo things to keep up our morale during the war. Such things were not harmful to other countries when confined within the borders of the countries using them, but the international character of American film enterprises has flaunted American jingoism in the face of the world—at a time when the world is not in the humor to endure it. It was not the intention to insult other countries, but the films could earn additional money—and what did anything else matter? It will be necessary to correct this evil if we are to have harmonious relations with our neighbors. Moreover, propaganda plays for home consumption must be put in the same class as patent medicine advertisements in the newspapers, if we are to have a healthy public opinion. We must have them properly labelled, with the formula of their ingredients shown in an introductory flash.