At this crisis in the career of humanity there is but one medium by which the democracies of the world can be given the information necessary, in the opinion of Mr. Root, to avert the cataclysm threatening humanity, and that is the motion picture screen. That this medium is becoming, by leaps and bounds, better equipped for its gigantic task of world-salvation is apparent to even the most careless observer. During the short time that has elapsed since the author wrote the first sentence of this little book, the movie has enlarged its scope, possibilities and actual achievements in a startling and bewildering way. To illustrate this point, which is of crucial significance in connection with the topic now under discussion, let me quote a few head-lines culled at random from the metropolitan press of recent date. “Revolutionary Talking Movies—Widespread Changes Predicted if New Invention is a Success.” “‘Color Film Great,’ says C. D. Gibson. Artist at Private Exhibition Finds Effects Wonderfully Reproduced.” “Ditmar’s Film Gives Life to the Prehistoric. Zoo Curator Presents Real Live Monsters.” “Talking Movie Hailed in Berlin by Scientists as Great Success.” “New Method Gives Perfect Color to Motion Pictures. First Film a Riot of Color but Not at Expense of Reality.” “Stereoscopic Film Indicating Depth Shown Here.” “Scientist Brings Talking Film. Prof. de Forest Here with Device Whereby Even Operas May Be Produced on Screen.” “Modern Wizards Bewilder Edison. Watches Voice Filmed.” “Einstein’s Relativity Theory in Pictures. Fascinating, Ingenious and Revolutionary.” The above list might be greatly prolonged, but it serves the purpose we have in hand as it stands. It means that the possibilities of the screen are being realized at an amazing rate of progress, that the Esperanto of the Eye, which found its alphabet when Edison invented the kinetoscope, has now become a universal method of expression fitted to reveal eventually all human knowledge to the race in such a manner that it can be sensed, if not comprehended, by even illiterates and morons. There are, of course, technical problems connected with color, depth and the synchronization of voice and movement which it may be impossible for the ingenuity of man to solve, but the year 1923 will appeal to the future historian of the movie as a period in which the screen entered a domain possessing hitherto undreamed of facilities for intensifying the potency of the playwright, actor, scientist, educator, statesman, philanthropist and salesman. The last-mentioned beneficiary of the screen, commonly called “drummer,” is worthy of a moment’s attention just here as helping to prove our general proposition that there is no field of human activity that has not been, or that will not be, influenced and perhaps greatly changed by the growing vogue of the movie. A recently-published editorial in the New York _Herald_ says: