gument unless it is indeed the Winged Victory
sort. The gods are not always on the side of those who throw fits.

There is here appended a newspaper description of a crusading film, that,
despite the implications of the notice, has many passages of charm. It is
two-thirds Action Photoplay, one-third Intimate-and-friendly. The notice
does not imply that at times the story takes pains to be gentle. This bit
of writing is all too typical of film journalism.

"Not only as an argument for suffrage but as a play with a story, a
punch, and a mission, 'Your Girl and Mine' is produced under the
direction of the National Woman's Suffrage Association at the Capitol
to-day.

"Olive Wyndham forsook the legitimate stage for the time to pose as the
heroine of the play. Katherine Kaelred, leading lady of 'Joseph and his
Brethren,' took the part of a woman lawyer battling for the right.
Sydney Booth, of the 'Yellow Ticket' company posed as the hero of the
experiment. John Charles and Katharine Henry played the villain and the
honest working girl. About three hundred secondaries were engaged along
with the principals.

"It is melodrama of the most thrilling sort, in spite of the fact that
there is a moral concealed in the very title of the play. But who is
worried by a moral in a play which has an exciting hand-to-hand fight
between a man and a woman in one of the earliest acts, when the quick
march of events ranges from a wedding to a murder and an automobile
abduction scene that breaks all former speed-records. 'The Cause' comes
in most symbolically and poetically, a symbolic figure that 'fades out'
at critical periods in the plot. Dr. Anna Howard Shaw, the famous
suffrage leader, appears personally in the film.

"'Your Girl and Mine' is a big play with a big mission built on a big
scale. It is a whole evening's entertainment, and a very interesting
evening at that." Here endeth the newspaper notice. Compare it with the
Biograph advertisement of Judith in chapter six.

There is nothing in the film that rasps like this account of it. The
clipping serves to give the street-atmosphere through which our Woman's
Suffrage Joan of Arcs move to conquest and glory with unstained banners.

The obvious amendments to the production as an instrument of persuasion
are two. Firstly there should be five reels instead of six, every scene
shortened a bit to bring this result. Secondly, the lieutenant governor
of the state, who is the Rudolf Rasse