The Select Pictures Corporation is headed by Lewis J. Selznick, who is also head of Selznick Pictures, In¬ corporated. He was at one time vice-president of the World Film Corporation. With him are associated a number of members of his race.
This is but to name a few. These are the official heads. Penetrate down through the entire organiza¬ tions, until you come to the last exhibition of the cracked and faded film in some cut-price theater in an obscure part of a great city, and you will find that the picture business, on its commercial side, is Jewish through and through.
In the above notes, reference has been made to the occupations out of which the present arbiters of photo-dramatic art have come to their present eminence. They are former newsboys, peddlers, clerks, variety hall managers and ghetto products. It is not urged against any successful business man that he formerly sold newspapers on the streets, or peddled goods from door to door, or stood in front of a clothing store hailing passers-by to inspect his stock. That is not the point at all. The point is here: men who come from such employments, with no gradations between, with nothing but a commercial vision of “the show business,” can hardly be expected to understand, or, if they understand, to be sympathetic with a view of the picture drama which includes both art and morality.
JEWISH SUPREMACY IN MOTION PICTURE WORLD 131 Mr. Laemmle, it will be remembered from a former article, said of his company, “The Universal does not pose as a guardian of public morals or of public taste.” This is probably the attitude of other producers, too. But though they avoid any responsibility for taste or morals, they consistently fight all attempts of the state to set up a public guardianship in those regions. A business that frankly brutalizes taste and demoralizes morals should not be permitted to be a law unto itself.