habits of the house-fly), and various others having to do with the
health, happiness, and morality of the people; and from the study of
hundreds of nickel shows one is forced in justice to say that although
there are dangers from the children's being out late at night and going
to such places unattended, and although the recreation is passive and
administered rather than secured by wholesome muscular exercise, yet
there has been brought within the reach of the entire family of moderate
means an evening of innocent enjoyment which may be had together and at
small expense. Properly regulated, it is an offset to the saloon and a
positive medium of good influence.

Such a commendation, however, can safely be made for those communities
only which take the pains to censor all films before exhibition is
permitted. In less than two years the censorship bureau of Chicago has
excluded one hundred and thirteen miles of objectionable films. It
should be said also that the vaudeville, which now often accompanies the
nickel and dime shows, is usually coarse and sometimes immoral. The
music, alas, speaks for itself and constitutes a sorry sort of education
except in the foreign quarters of our great cities where, in conformity
to a better taste, it becomes classic and valuable.

But to describe a typical film of the better sort and to indicate its
practical use may have some suggestive value for wide-awake ministers
who wish to turn to good account every legitimate social agency. During
the Christmas season of 1911 the following film story was set forth to
vast audiences of people with telling effect: In a wretched hovel you
see a lame mother with three pale children. The rich young landlord
comes to collect rent and is implored to improve the place. This he
refuses to do because of his small returns on the property. He departs.
The father of the family returns from work. They eat the bread of the