remark about producing a great many ideas out of a very little food;
assuredly, the American picture industry had cause to fear
competition of that sort! I thought of old "T-S," as the screen
people call him for short--the king of the movie world, with his
roll of fat hanging over his collar, and his two or three extra
chins! I though of Mary Magna, million dollar queen of the pictures,
contriving diets and exercises for herself, and weighing with fear
and trembling every day!



III


It was time for the picture to begin, so I smoothed my coat, and
went to a seat, and was one of perhaps two dozen spectators before
whom "The Cabinet of Dr. Caligari" received its first public showing
in Western City. The story had to do with a series of murders; we
saw them traced by a young man, and fastened bit by bit upon an old
magician and doctor. As the drama neared its climax, we discovered
this doctor to be the head of an asylum for the insane, and the
young man to be one of the inmates; so in the end the series of
adventures was revealed to us as the imaginings of a madman about
his physician and keepers. The settings and scenery were in the
style of "futurist" art--weird and highly effective. I saw it all in
the light of Dr. Henner's interpretation, the product of an old,
perhaps an overripe culture. Certainly no such picture could have
been produced in America! If I had to choose between this and the
luxurious sex-stuff of Mary Magna--well, I wondered. At least, I had
been interested in every moment of "Dr. Caligari," and I was only