70 years ago, Chesterton wrote this brilliant piece on the inherent dangers of theatre and cinema. The man (C.S Lewis who in his autobiography credited Chesterton as a leading influence called him 'the most sensible man alive' though they never met) is prescient and as prophetic as always. Film critic Peter Chattaway whose blog I enjoy immensely reposted an excerpt as a comment on that hit movie:
The second fact to remember is a certain privilege almost analogous to monopoly, which belongs of necessity to things like the theatre and cinema. In a sense more than the metaphorical, they fill the stage; they dominate the scene; they create the landscape. That is why one need not be Puritanical to insist on a somewhat stricter responsibility in all sorts of play-acting than in the looser and less graphic matter of literature. If a man is repelled by one book, he can shut it and open another; but he cannot shut up a theatre in which he finds a show repulsive, nor instantly order one of a thousand other theatres to suit his taste. There are a limited number of theatres; and even to cinemas there is some limit. Hence there is a real danger of historical falsehood being popularized through the film, because there is not the normal chance of one film being corrected by another film. When a book appears displaying a doubtful portrait of Queen Elizabeth, it will generally be found that about six other historical students are moved to publish about six other versions of Queen Elizabeth at the same moment. We can buy Mr. Belloc's book on Cromwell, and then Mr. Buchan's book on Cromwell; and pay our money and take our choice. But few of us are in a position to pay the money required to stage a complete and elaborately presented alternative film-version of Disraeli. The fiction on the film, the partisan version in the movie-play, will go uncontradicted and even uncriticized, in a way in which few provocative books can really go uncontradicted and uncriticized. There will be no opportunity of meeting it on its own large battlefield of expansive scenario and multitudinous repetition. And most of those who are affected by it will know or care very little about its being brought to book by other critics and critical methods. The very phrase I have casually used, 'brought to book', illustrates the point. A false film might be refuted in a hundred books, without much affecting the million dupes who had never read the books but only seen the film.