duced that humble and joyous little figure who is the only universal hero of our times.
CONFRONTED first with the war and then with the competition of the Italian and the American films, what happened to the French film industry during those four years? In August 1914 production practically came to a standstill. Little by little the various firms reorganized themselves, and American firms either opened branches in France or made arrangements for French distributors to handle their output. Various changes were made on the producing side and by 1915 the industry was once more functioning almost normally. But it had undergone considerable changes. Western Import had opened a big branch in Paris managed by Jacques Haik. Keystone was distributing all its comedies, notably those of Mabel Normand, in France through Aubert. Eclair never entirely ceased production but had kept going with war newsreels, on which it now continued to concentrate. The Film d'Art had passed into the control of Nalpas: he had reorganized its personnel but kept its character. Other firms, less well managed or less stable, had entirely disappeared, the one among them most to be regretted being, of course, that of Méliès.
The making of war newsreels led naturally to the production of patriotic films. In 1915 Film National brought out an ambitious picture based on Victor Margueritte's patriotic novel, Frontiers of the Heart. "Extolling as it does the national sentiment of France," so the producers advertised, "this film has been so adapted as to fit perfectly with the following patriotic airs: The Sambre-et-Meuse Regiment, The Bugle Call, The Marseillaise, The Call to the Colors and The Charge." The same firm announced A Sacred Love, "showing on the screen the most poignant conflict of emotions that could rend the heart of a young Frenchman today." They also produced The Burgomaster's Daughter and The House at theFerry