baffling.
A little “Who’s Who in the Motion Picture Industry” would make a valuable department in the movie theaters’ printed programs, but it is not pleasant to think of what would happen to the manager who should print one. There is a strange confusion in the Jewish mind, a struggle between a desire to remain unidentified and a desire to be known. Sometimes they measure friendship by the depth of the silence about their being Jews; sometimes by the amount of open laudation. To say a man is a Jew is sometimes to be vilified as an “anti-Semite,” and sometimes to be honored as “a friend of our nation.”
In what is said now, the only purpose is to inform “movie fans” of the source of the entertainment which they crave and the destination of the millions of dollars which they spend. When you see millions of people crowding through the doors of the movie houses at all hours of the day and night, literally an unending line of human beings in every habitable corner of the land, it is worth knowing who draws them there, who acts upon their minds while they quiescently wait in the darkened theater, and who really controls this massive bulk of human force and ideas generated and directed by the suggestions of the screen.
Who stands at the apex of this mountain of control? It is stated in the sentence: The motion picture influence of the United States—and Canada—is exclusively under the control, moral and financial, of the Jewish manipulators of the public mind.
Jews did not invent the art of motion photography; they have contributed next to nothing to its mechanical or technical improvement; they have not produced any of the great artists, either writers or actors, which have furnished the screen with its material. Motion photography, like most other useful things in the world, is of non-Jewish origin. But by the singular destiny which has made the Jews the great cream-
