News of the Cinema

Press, Volume LXXIII, Issue 22003, 29 January 1937, Page 5

News of the Cinema

England need have no fears for its Umpire so long as Hollywood insists upon being the Kipling of tha Pacific, writes Frank S. Nugent in the "New York Times." The film city's pious regard for the sacrosanct bearers of the white man's burden continues to be one of the most amusing manifestations of Hollywood's anglophilia. In its veneration of British colonial nolicy in its respect for the omniscience and high moral purposes of his, ior her, Majesty's diplomatic represen'tatives, and in its adulation of the 'courage, the virtue, and tne manly beauty of English soldiery abroad, Hollywood yields to no one—not even to the British film-makers themselves. We suspect that some of these chapters in the Hollywood White Book have been extremely embarrassing to >our knowing English cousins. It is one thing to have acquired an empire and to have kept it; it is quite another to be lauded enthusiastically every few months for the altruism, heroism, and nobility which made the annexation and preservation of the new colony possible. A small boy, conscious of the jam stains on his. blouse, is not likely fd enjoy being patted on the head and praised for good conduct by his nearsighted grandmother. Old grandmother Hollywood, ignoring the jam stains —or the less trivial stains—on the British tunic, has found only glory and rattling good melodrama in its imperialist sagas. From ••Lives of a Bengal Lancer" right on down to the Strand's current "The .Charge of the Light Brigade," it has pursued the complacent fiction that

the white men are ,aJI heroes, while the natives are all villains. If the screen should happen to be your history book, you will have learned that every sheik, mollah, amir, princeling, and khan is a treacherous, lecherous, bloodthirsty, cruel, and cowardly mad clog'who, like as not, is hand in. glove with a crafty Russian or a wily 'Japanese. "Rhodes of Africa" It is obviously impossible to have any sympathy for such as these, and there is nothing for even the most anti-imperialistic of us to do but hope fervently, for that happily inevitable battle scene in which virtue and the repeating rifle triumph over savage hordes. Sometimes, of course, this can be carried too far. We are thinking of that Gaumont British film, "Rhodes," which contained one such scene: a native' uprising magnificently quelled by diplomacy and a withering fire from the Maxim guns. The scene was accepted here, but the British censors had it stricken out when the picture was shown to the home folk: bad Policy, might cause talk. "Rhodes" was a fairly curious imperialistic picture in several respects, but that may be blamed upon -its manufacture in England, instead of in' Hollywood. It was intended, as you may recall, to be a glorification of the Empire Builder, but it emerged as a sympathetic study tf Oom Paul Kruger, the Boer president. Oom Paul was shown to be n ght in every respect, including his '-cynicism concerning England's ' purPoses in opening Africa for colonisa- -■ «on. Hollywood would have done a -•'touch better job of it, I am sure. Before it had finished, even the Dutch - would have been howling for Oom s-ftul's £C£ i p .

The Light Brigade

Getting back to "The Charge of the JJght Brigade"—and it's a grand picto return to~we find the Warners remodelling history not merely to put ™e Russians in their place, but to

HOLLYWOOD AND THE EMPIRE Film City is “Kipling of the Pacific” GLORIFICATION OF ENGLAND’S HISTORY

strike another blow for Queen Victoria and the empire on whose dominions the sun never sets. The picture begins—and for a time it looked as though ii would end—in the good old Khyber Pass territory where Surat Khan, the traditionally wicked amir, is flirting with Russia and winning the deathless enmity of the Twenty-seventh Lancers by mascacring every man, woman, and child in the undermanned outpost of Chukoti. For this offence against civilisation India becomes too hot to hold him and he scurries to Crimea, to Balaclava in fact, whence in due time come the same Twenty-seventh Lancers, now members of the Light Brigade

History, and even the poetic Alfred Lord Tennyson, refers to the charge of the Light Brigade as a magnificent blunder caused by some understrapper's mistaken sense of direction and by a valiant commander's stolid obedience to orders. Hollywood thinks too well of the Lancers to accept any such mournful fact. It was no blunder, the Warners tell us. but Major Vickers's desperate expedient to avenge England upon Surat Khan and, less significantly, to clear the way for his brother's marriage to the commandant's lovely daughter. Whatever its motivation, the charge is a magnificent spectacle, and I do not believe any rne can sit unmoved as the screen's gallant 600, with sabres out-thrust and lances level, charge down the mile-long valley while enemy cannon tear great holes in their ranks, while men and horses plunge headlong to earth, while a swelling or-

chestral accompaniment beats its savage rhythms into one's brain. The scene is sheer cinema and I cannot recall a more vivid, more stirring episode in screen history. The White Man's Burden After this interlude we come once more to imperialism, British style, and find Gaumont standing crestfallen before a lion humbled by that whimsical potentate, Sultan George Arliss, of "East Meets West." The Empire fares ill in the Indies at Mr Arliss's carefully manicured hands. By pitting East (Japan) against West (England) in some diplomatic manoeuvring for control of Mr Arliss's private naval base, the suave old gentleman enriches himself by £2.000,000 and concludes amicable treaties insuring his tiny sultanate against the encroachment of either foreign power. Shucks, if .that's the best England can do on behalf of white prestige and the glory of the Empire, it had better entrust the white man's burden to Hollywood. Given one company of Lancers and "a 'massacre or two, our West Coast Kiplings would have made Sultan- Arliss abdicate to a Sussex cottage and be mighty pleased to be called "Uncle George."

The Gilbert and Sullivan Company, now in the North Island, are due to begin their Christchurch season on February 6.

American Airlines have built a prop aeroplane which they have placed at the disposal of the industry. Studios have always rented aeroplanes in the past, but with the increase in travel it has become embarrassing at times to the airlines. The dummy aeroplane is built on the scale of a commercial airliner. It has removable walls and can, be dismantled in six parts for easy handling. Timid actors henceforth need never get more than a. few feet above the floor of the sound stage.

TELEVISION Public Demonstration LARGE AUDIENCE IMPRESSED LONDON, January 6. The first public demonstration of big screen television by the new Baird system was given at a London cinema this week. An audience of 3000 saw a variety programme which is being televised regularly during the ordinary film shows on to a screen above the stage. Actually, the artists televised were in a small studio in another part of the building, and television was effected bv land line on to the screen. The picture suffered a little from immediate comparison with perfection of the 24ft cinema screen. The television pictures were dimmer and less distinct, but impressed the large audience It was obvious, however, that television is not nearly advanced enough yet to be used for such a scale. The screen, which measured eight feet by six and a half, looked tiny on the big cinema screen, and there was not room in it for more than a single head and pair of shoulders at a time. The picture was clear in the centre but shadowed at each side, and there was a constant play of vertical lines over it which bother the eyes. Mr George Lansbury and Mr Baird, both of whom addressed the audience, were little more than blurred outlines. It was noticed that Mr Baird’s spectacles caught the light every now and then and obscured his face. Nevertheless. now that the transition from the small to the large screen has been accomplished. rapid improvement is expected. All the voices came through excellently.

MARK PICKFORD MAY ENTER PRODUCTION AGAIN There is talk abroad that Mary Pickford may enter production again. As a founder member of United Artists she has a particularly valuable property at her command which she is loath to see inactive and, in addition, she is ambitious to be an impelling factor in the industry. The reports are that she is taking options on players and that she will launch a new company early this year. She is said now to regret her split with Jesse L. Lasky, which has become all the more galling because of the success of “The Gay Desperado.” She had predicted that it would be a miserable failure after she saw it twice at previews. It is improbable that she will appear in any future'films, although she is anxious to resume her screen career. The memory of the notices on “Secrets.” her last picture, is too deeply etched in her mind to allow her to face the camera. Those close to her. nevertheless. insist that she would brave it again if she found a story in which she could have confidence.

PRODUCTION BOOM ACUTE STUDIO SHORTAGE The greatest production boom since the advent of sound has created an acute studio shortage in Hollywood, with no particular solution in sight. Major lots are, of course, unavailable for lease and the rental studios are crowded by the more substantial independent operators, leaving the smallbudget boys without a place to hang a hat or set up a camera. Selznick International is so crowded at Pathe that negotiations are on either for the leasing of the entire studio or of the old Educational lot, although the latter would necessitate an extensive building programme. Emanuel Cohen and Harold Lloyd occupy most of the available space at General Service, the largest rental lot, and such spots as Talisman. International, Television and the old Bryan Foy studios are full. Warners have received a number of offers for their idle Sunset Boulevard plants, as has Twentieth Century-Fox for its Western avenue property, but both feel they should have auxiliary spa'ce and neither is ready to lease until they see how their own activities work out. Ordinarily such a situation would inspire a building boom, but the double bill is responsible for the space shortage and it is predicted in most quarters that this year will see the end of the dual programme. A permanent investment of several millions therefore appears unwise. The average independent cannot afford to build, as his money is needed for production.

The Red menace continues to engage Holly wood. It has become known that two lots have organised espionage systems to trace communistic utterances and tendencies. One studio is reported to have hired detectives to mingle with employees, and another is said to have instructed loyal members to report suspicious activities. The Red scare developed, amusingly enough, within a few days of a dispatch from Moscow which related that three executives of the Soviet film trust had been sentenced to labour camps because they had wasted State money in buying a worthless scenario and spent excessive money in producing it.

GERMAN FILM INDUSTRY BIGGER AUDIENCES BUT INCREASING COSTS BETTER PICTURES BEING MADE Germans are going to the cinema more, but the gain to the national him industry is more than offset by increased costs ot production, says a cablegram. Attendances in 1935-36 reached ihe record total of 317,000,000, compared with 280,000,000 in the previous year. The number of cinemas in Oex’many rose by 200 to about 5000. Yet, while film distributors last year had an income of approximately 20,000 000 marks (£1,646,000) more than m 193233. the industry as a whole showed a deficit of about half that amount. The reasons were a drop in exports of £823.000 and an increase of production costs from £2,469,000 to £4.11*5,000. The smaller export of films is attributed to the rise of home production in the smaller European countries. the growth of the British film industry, and the Jewish boycott of German films, especially in the United States. . The average cost of producing films in Germany has risen by 70 per cent, since the 1932-33 season. The rise is attributed chiefly to the effort to make better films, which is reflected in higher salaries.

Moreover, the double-feature programme has been abolished, so that each film has to be an attraction in itself and cannot be carried along by another of more pulling power in tho same bill.

Promises were made in 1933 to cut the pay of film stars and bring them into line with other salaries in tho industry. What has happened, however, is that salaries have gone up all round, including those of the stars. There is a large demand for the limited amount of film talent available in Germany. -The vacancies left by the departure of Jews and the competition of Viennese producers compel the German companies to compete violently for leading personalities. Consequently famous operatic stars can earn from £1646 to £2870 a film, well-known actors and actresses frcm £576 to £9BB and those in the second rank between £329 and £4ll. Wages of extras and cameramen have likewise risen considerably.

Because of these high costs the German film industry has not been able to produce its set quota of films during the last three years. In 1935-36 155 were announced, but only 106 reached the public.—British United Press.

One of the surprise ballets included in the repertoire of the Colonel de Basil Monte Carlo Russian ballet (due in Auckland on February 22 for a Dominion tour after an Australian season) is the "Port Said" interlude. It was created by Leon Woizikowsky, the company's leading male dancer, and is a clever caricature of the drab side of life in a Mediterranean seaport. It comes as a shock after the classic and oriental ballets to have the screen lift on a lurid waterfront gin shop. Helene Kirsova, as a showy French dancer, created a furore in Australia by the coquetry of her work, while Leon Woizikowsky. in the role originated by him in London, sets the mood of the piece with his curious marionette-like postures and his Chaplinesque walk. Nina Raievska's frenzied Dervish dance is another feature of this spectacular ballet, which has caused a sensation during the Australian season.

BRITISH FILM CRISIS LONDON FILMS NOT AFFECTED Recent cable news from London reported that British film producing companies had suffered serious losses during the last year. It was stated that over £2,000,000 had been lost through the production of unprofitable films. The manager of the New Zealand branch of United Artists who are the world-wide distributors for Alexander Korda-London Films, the most important British producing company, has been advised by cablegram from their head office in New York that Alexander Korda-London Films are in no way affected by the failure of other British film companies. Alexander Korda, who presides over London Films, advises that no changes whatsoever will be made in the policy of London Films production. Kordas plans for producing during the ,J ur “ rent year will involve an expenditure of £2,500,000. Each picture is being designed for world-wide distribution, and many of the pictures will feature stars of international fame supplied by American stud’os

NEWS FROM STUDIOS Barton Mac Lane has been lent by Warner Bros, to Walter Wanger for a role in "We Live Once Only." * * ♦ RKO-Radio has signed Franchot Tone to play the male lead in “Quality Street,” opposite Katharine Hepburn. * « « Victor McLaglen and Preston Foster will be teamed in "Coastal Patrol” (tentative title), to come from RKORadio. ■* * ♦ “Green Light,” starring Errol Flynn. has been completed at the Warner Bros.’ studios. Anita Louise is the leading lady. * * * “Tudor Rose.” Gaumont-British film shown in Hobart recently, won the award for international cinematography at the recent Venice film exhibition.

Walter Wanger has bought the Allene Corliss novel, "Summer Lightning," as a starring vehicle for Joan Bennett. The picture will be titled "All Ladies are Women."

The Rudyard Kipling story, "Wee Willie Winkie," has been purchased as a screen subject for Shirley Temple. This well-known story is told against a background of British military and official life in India.

Sally O'Neill, the lovely Irish-Ameri-can stage and screen star, has been signed bv Argyle British Productions, to play the title role in "Kathleen Mavourneen," an original story written specially for the screen.

"Caviar for His Excellency" is to follow "The General Died at Dawn" as the second co-starring effort of Garv Cooper and' Madeleine Carroll. It will come from Paramount.

Bobby Breen, the singing child actor, is to appear next in "Rainbow Over the River."

Randolph Scott is to play opposite Irene Dunne in "High, Wide, and Handsome," a musical from Paramount.

Lily Pons has become engaged to Andre Kostelanetz, the composer, who will write the music for her next film for Radio.

Otto Kruger has been chosen to play the lead in the British International Pictures' production, "The Norwich Victims," a mystery thriller.

Lansing C. Holden has been placed under contract by David O. Selznick as colour designer on "A Star is.Born," forthcoming Technicolor production. Merle Obcron and Fredric March will be starred.

"A Woman Rebels" is the new title of the Herbert Marshall-Katharine Hepburn co-starring film from the novel, "Portrait of a Rebel," by Netta Syrett. Elizabeth Allan, David Manners, and Donald Crisp are in featured roles.

Warner Bros, are sending 11 of their Hollywood stars to work in their British studios, in course of extension at Teddington. The stars will be George Brent, Zasu Pitts. Hugh Herbert. Joan Blondell, Glenda Farrell, Frank McHugh, Ross Alexander, June Travis, Anita Louise, Jean Muir, and lan Hunter.

Louis Borell, a young Dutch actor, makes his British film debut with Jessie Matthews in "Head Over Heels." Robert Flemyng, who has the male lead in the film, is also a newcomer.

HISTORY OX THE SCREEX NEED FOR ACCURACY Signor Mussolini’s idea of making a firm version of the story of Christopher Columbus, and another of that of Scipio Africanus, may be inspired by motives of pride, but there is also an obviously valuable historic aspect to the matter, writes a film critic. As both pictures are to be made under the supervision of Carlo Roncorom, official director of Italian film production, it is clear that they are intended as national propaganda, find as such they might very easily prove to be well worth the reported expense of a quarter of a million dollars apiece. It is an excellent thing to show a nation its past history in screen form, provided that the film version approximates sufficiently closely to establish

historic facts to warrant the claim that the picture is intended to be history, and not Action. We have seen how, in some films depicting famous figures of history, the facts have been distorted almost beyond recognition. In some instances there was no claim that history was being followed, while in others there was. A film based upon a historic event can only possess educational. value, however, as apart entirely from entertainment value, if it gives us an approximation to the truth, so far as it has been estabr lished. Such pictures as "The Covered Waggon"- on this side, and "Henry. VIII. on the other, possess a definite historical value, even if all the facts cannot be verified, since they do convey what we have good reason for believing are pretty accurate pictures of the customs, manners, and thought of the respective periods they portray.

When Mussolini decides to have a film made of the conquest of Ethiopia, it will be interesting to note how much of the truth he will desire to see transferred to the screen. On that point, I imagine, there will be two widely divergent opinions.

NEW FILMS AT CITY THEATRES Mayfair—“The Bride Walks Out,’* starring Robert Young, Barbara Stanwyck, Gene Raymond, Ned Sparks, and Helen Broderick. Comedy. Avon —“Sweet Aloes.” starring Kay Francis and George Brent. Romantic drama. „ ... State —“The Champagne Waltz, with Fred Mac Murray and Gladys .Swarthout. Musical. Jubilee special. Second week. • Crystal Palace—"ls Maiden Lane, with Claire Trevor and Cesar Romero. Mystery story. Also “Back to Nature,” starring the Jones family. Civic—“ Song of Freedom.” starring Paul Robeson. Musical drama. Second week.

Binnie Barnes is to be Victor McLaglen's leading lady in "Fool for Blondes."