Max Linder, the French comedian, voices what might be almost called the permanent Entente Cordiale grouse against America. He announces the existence of a boycott against French films. Every British producer on returning from America after an unsuccessful business trip indulges in the same tirade. America, like England, cares little about the nationality of a feature providing it is the goods. Any country with common sense will boycott a certain class of picture which relies upon dirt mingled with cheap sentimentality for its appeal. Such pictures as “The Love Slave,” shown recently in New York and in London some months ago, and the pornographic orgy with a courtesan known as Lola the Heartless as its main character, shown here the other day, can scarcely succeed anywhere. They are made and shown with the sole idea of appealing to a certain class of the public in exactly the same way as a certain class of book is published and exhibited in so-called “medical” shops in the dubious quarters of every big city.
Linder, however, goes one further than the usual grouser. Speaking of his “Seven Years Bad Luck,” he affirms that when the film was shown in American Kinemas it was purposely mutilated in order to discredit him in the eyes of the public. His whole story is in reality a round-about way of declaring that the sympathies of America are pro-German. (Variety, Sep. 1, 1922)