that this was the factory that was
consumed by the flames, but one or two of the later scenes made it
plain to those who could read French and who watched the picture
closely that the actual fire scenes had been taken during the
destruction of an immense oil refinery. Yet the combination of the
rehearsed scenes and the views of the real and disastrous
conflagration made a picture that drew record-breaking houses to every
theatre where it was exhibited.

Again, whether or not the producing concern releases a weekly or
semi-weekly current-events reel, every company at times makes use of
portions of such pictures, either made by themselves or procured from
other firms. In the same way, educational pictures of every kind are
made use of--certain parts of them, that is--to provide fitting and
convincing atmosphere for original stories. When the Whartons put out
their very fine patriotic serial, "The Eagle's Eye," written and
produced with the intention of exposing the plots formed in the United
States by agents of the Imperial German Government, the first episode
was called "The Hidden Death," and showed on the screen exactly how,
in all probability, the sinking of the _Lusitania_ was brought about
by Count von Bernstorff and his various agents. The actual
advertisement placed in New York City newspapers by the German Embassy
at Washington, warning all travelers that they sailed on steamers
belonging to Great Britain at their own risk, as a state of war
existed between that country and Germany, was shown on the screen, as
were several photographs of newspaper first pages with news of the
crime after it had been perpetrated. Also, the _Lusitania_ was shown
sailing down the North River toward the Upper Bay, starting on her
last voyage. This picture, of course, was at least three years old at
the time the film was shown in the theatres, and may have been much
more than that, since many pictures of this and other great ocean
liners have been made in years past, and at times when no one could
possibly have guessed their ultimate fate.

Practically every photoplay of the Great War that has been released up
to the present time has been made up in part of scenes taken on one of
the fighting fronts, at the American, British or other training camps,
or during street parades and military reviews, these pictures having
first been made for news weeklies, official war pictures, or for
patriotic propaganda purposes. Fitted in as a part o