It is a quality, not a defect, of all photoplays that human beings tend to become dolls and mechanisms, and dolls and mechanisms tend to become human. But the haughty, who scorn the moving pictures, cannot rid themselves of the feeling that they are being seduced into going into some sort of a Punch-and-Judy show. And they think that of course one should not take seriously anything so cheap in price and so appealing to the cross-roads taste. But it is very well to begin in the Punch-and-Judy-show state of mind, and reconcile ourselves to it, and then like good democrats await discoveries. Punch and Judy is the simplest form of marionette performance, and the marionette has a place in every street in history just as the dolls' house has its corner in every palace and cottage. The French in particular have had their great periods of puppet shows; and the Italian tradition survived in America's Little Italy, in New York for many a day; and I will mention in passing that one of Pavlowa's unforgettable dance dramas is The Fairy Doll. Prospective author-producer, why not spend a deal of energy on the photoplay successors of the puppet-plays? We have the queen of the marionettes already, without the play. One description of the Intimate-and-friendly Comedy would be the Mary Pickford kind of a story. None has as yet appeared. But we know the Mary Pickford mood. When it is gentlest, most roguish, most exalted, it is a prophecy of what this type should be, not only in the actress, but in the scenario and setting. Mary Pickford can be a doll, a village belle, or a church angel. Her powers as a doll are hinted at in the title of the production: Such a Little Queen. I remember her when she was a village belle in that film that came out before producers or actors were known by name. It was sugar-sweet. It was called: What the Daisy Said. If these productions had conformed to their titles sincerely, with the highest photoplay art we would have had two more examples for this chapter. Why do the people love Mary? Not on account of the Daniel Frohman style of handling her appearances. He presents her to us in what are almost the old-fashioned stage terms: the productions energetic and full of painstaking detail but dominated by a dream that is a theatrical hybrid. It is neither good moving picture nor good stage play. Yet Mary could be cast as a cloudy Olympian or a church angel if her managers wanted her to be such. She herself was transfigured in the Dawn of Tomorrow, but the film-version of that play was merely a well mounted melodrama.