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[The Moving Picture World, 8 January 1910, pages 20-21] This week the celebrated Lux films, which have long had the greatest success in Europe, take their place amongst regular American releases. This fact in itself is of sufficient importance to deserve particular mention in our pages. For the Lux film is the second brand of European films to find its way on this market in the hands of its own agency.
We pointed out tin the Moving Picture World weeks ago that such a development of the business was likely to take place and we have information that the example set by the Lux people is likely to be followed in other directions. / Meanwhile we think that the productions of this house should be accorded a welcome to this market on two grounds: the first of them purely commercial — because intertrade and intercommerce are recognized factors in the business of the world, and secondly on the grounds of quality. There is no occasion to doubt that Lux films, writing generally, are of a high order of merit both dramtically and photographically. The American public has always shown a wide appreciation of the best products of the old world, as a glance around the industries of the country will show. American products, as we know, are popular in the outer markets of the world and purely on reciprocative terms those who give should also be prepared to receive. This is the truest state of mind for your modern man of business to be guided by. / The Lux films show the French school of moving picture making in those aspects which are popular more or less with moving picture audiences in this country. They are dramatic, as is only to be expected when the work of the French producer is concerned; equally so they touch a high level of excellence indeed in respect of their photographic qualities. Their general success will of course depend upon the suitability of each individual subject for American audiences — a test, of course, by which all imported subjects stand or fall. Last week we had the pleasure of examining two pictures which are down for early release, and if these are to be accepted as fair samples of the kind of pictures which the Lux people are to release, then these subjects are tolerably sure to make a strong bid for success on their merits. One of them is entitled “How the Dog Saved the Flag,” and it shows an episode in French history of last century in which a wonderfully trained dog becomes the savior of the flag in time of warfare. The cleverness of the animal, who is virtually the hero of the piece, is sufficient to stamp this particular film with the mark of success. We have observed over and over again that “doggy” subjects are always popular with an audience. Yet another subject was called “The Rivals.” This is of an entirely fanciful, not to say fantastic, nature. It shows how a man gets rid of the hump on his back by the aid of fairies and so wins the embraces of a charming girl. The setting of this picture is decidedly beautiful. The story is clear, the acting good, and the photography of a very high class. The impression made on our minds by these films is this: that Lux films on their merits have a strong chance of succeeding with American audiences. It is the determination of Mr. R. Prieur, the American agent, to release as far as possible suitable comedy subjects. In this respect Lux films, we think, will be acceptable to the American moving picture public.
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