likes and dislikes so well that he left a great fortune, five millions I have been told. Two years before his death he put his tried and proven formulas aside for a moment and made Eugene O'Neill's play, "Anna Christie", into a photo-play that won high praise from the reviewers for its sincerity.
Five months after the film's release the New York office wired Ince in pleased surprise, "Figures show we have turned the corner on Christie and are going to make some money."
Ince wired back, "I don't care a hoot whether it makes a dime or not. I didn't make that one to sell, but to show the critics that Tom Ince could do this art stuff if he wanted to."
The theater has had the same obstacle to contend with, but the theater happily is specialized. It is divided into drama, melodrama, farce, operetta, musical comedy, vaudeville, burlesque, minstrelsy, and the like, for as many varying tastes. You pay your money and take your choice. The dramatic producer does not have to concern himself with the tastes of burlesque audiences. They attract different sets of playgoers.
The picture exhibitors, on the contrary, whether in Nebraska or in Vermont, down-
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