Later, Metro tried still harder to please more discriminating audiences—with varying results. “The Four Horsemen” is a film of fine qualities, for audiences with a certain kind of grown-up mind. It tells of how a boy from the Argentine, and his friends and relatives, were drawn into the Great War, and gives a wonderful, complicated picture of human nature, and war, almost as impressive and confusing as life itself. On the other hand, “Turn to the Right,” equally well done, and by the same director (Rex Ingram—the name is worth remembering) is almost childish in the way the story is handled, with the crooks and the innocent hero and the girls and the misunderstandings that go to make it all up. And with Vitagraph, “Black Beauty,” one of their most pretentious films from an artistic standpoint, mingles the beautifully told horse story with a brand-new tale of utter melodrama, that the horse is supposed to tell. “Black Beauty” was all right as long as he stuck to his own story; but when he came to telling the story of the human beings around him for Vitagraph, I am not so sure whether he really had good horse sense, or not. Goldwyn, and Famous Players, and later on, First National, definitely went in for better-class films. With Goldwyn, the effort, while not altogether successful, was so sincere that it more than once came close to endangering the future of the entire organization, through putting out “class” pictures ahead of their time. “Milestones” is an example of the kind of picture that as yet has not really found its own audiences, and so presented a pretty big problem to its producers from the box-office standpoint. It tells three stories in one, of how, in three successive generations, the young people follow up their own ideas with new inventions, and marry as they want to, before they find themselves growing old and conservative and advising against the very things they made a success of when they were young. Of the existing companies, Famous Players has done even more to bring along the day of class pictures and divided audiences, and has so far remained far ahead of Goldwyn in the actual number of truly artistic pictures produced. But let us get a step closer to this business of putting out “better pictures,” such as we may expect to have in larger proportion to-morrow. We can do so by noting what particular “better films” have done.