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-skimmers of the world, the benefit of it has gone not to the originators, but to the usurpers, the exploiters.
Who is who in the motion picture world? The names of the leading producing companies are widely known: The Famous Players; Selznick; Selwyn; Goldwyn; Fox Film Company; The Jesse L. Lasky Feature Play Company; United Artists’ Corporation; The Universal Film Company; The Metro; Vitagraph; Seligs; Thomas H. Ince Studios; Artcraft; Paramount, and so on.
The Famous Players is headed by Adolph Zukor. Mr. Zukor is a Hungarian Jew. He was a fur dealer in Hester street, and is said to have gone from house to house selling his goods. With his first savings he went into the “nickel” theater business with Marcus Loew. He is still in his forties and immensely wealthy. He is conceded to be the leader of the fifth largest industry in the world—an industry which is really the greatest educational and propagandist device ever discovered.
The reader will not be deceived by the use of the word “educational” in this connection. Movies are educational, but so are schools of crime. It is just because the movies are educational in a menacing way that they come in for scrutiny.
Zukor’s control extends over such well-known names as Famous Players-Lasky Corporation, The Oliver Morosco Photoplay Company, Paramount Pictures Corporation, Artcraft Pictures, all of which have been absorbed within the past five years.
It is commonly supposed that the United Artists’ Corporation is a non-Jewish concern, but according to an article in the American Hebrew, the head of this photoplay aggregation is Hiram Abrams. The United Artists’ Corporation was formed several years ago by the Big Four among the actors—Mary Pickford, Douglas Fairbanks, Charlie Chaplin and David Wark Griffith, and notwithstanding the fact that Charlie Chaplin is a Jew, the company was regarded by the public as being non-Jewish. Hiram Abrams is a former Portland, Oregon, newsboy and graduated from that wholesome occupation into the position of manager of a “penny arcade.” He was one of the founders of the Paramount Pictures Corporation, and became its president.
The Fox Film Corporation and the Fox circuit of theaters are under control of another Hungarian Jew who is known to the American public as William Fox. His original name is said to have been Fuchs. He also began his artistic and managerial career by running a “penny arcade.” The penny arcade of 15 and 20 years ago, as most city-bred men will remember, was a “peep show” whose lure was lithographed lewdness but which never yielded quite as much pornography as it promised.