Star System In Britain

Dominion, Volume 32, Issue 93, 13 January 1939, Page 14

Star System In Britain

More Careful Exploitation Of

Personalities In Future

r jM!E star system is, and looks like remaining, the mainstay of motion-picture success. At all events English producers, now making their most definite bid for their place in the sun on the international market, are convinced that it is personality that counts, and at present there is a great interest in the survey by a number of publications to find the “most popular stars” of the last motion-picture season. Those personalities chosen are seen as the big money-getters of the season now current.

P VERY year.- at this time, there is a stock-taking by the executive financial minds who know that their success depends wholly upon one thing —pleasing the public. They realize that their progress depends upon finding the right answers to the following questions: “'What do the public want?” “Do they want to be amused by slapstick or sophisticated comedy?” “Do they want to be thrilled by sensational or down-to-earth drama?” “Do they seek the relaxation of flippant farce?” “Do they want biographical films?”, “Do they know what they want?” (and the answer to that one, producers will tell you, is emphatically

“Yes”—the puzzle being to find out just what trend their fancy takes). However, in the variation of opinion there remains one proved guide, and that is that based upon the popularity level of the starring personalities. “It is always the cinemagoer who is right,” a leader of the production and theatre field stated some time ago. “They will have what they want and nothing else satisfies them. The show business has left that chrysalis stage it was in when people paid money joyfully to go into a tent and have their legs well and truly pulled. There is a subtle something that makes the world laugh and there is something that makes it thrill, or think, or cry, or calls forth any of the deeper emotions, and when a picture has it, it is a success. We spend a lot of money trying to invest our pictures with that certain something, but that is not enough. It is the star upon whom depends the great proportion of a film’s appeal to the public, and we must keep the closest tab upon our personalities -—must lie ready to exploit those stars who are looming larger upon' the horizon and not make the mistake of foisting upon the public those who are growing dimmer.” Case of George Formby, An interesting judgment of just what importance is invested in a»i accurate understanding of the extent to which a player’s popularity can bring triumph to a studio is supplied by George Formby. Now on the crest of a wave of popularity that embraces the theatres of the whole of the British Empire, this comedian was sky.rocketted to fame by public choice. Up to 12 months ago, Formby’s pictures had yet to enjoy the distinction of playing a season in London’s large West' End cinemas; managements thought his public was limited to the provincial and out-of-town centres. Imagine the shock when in the various polls his name ranked high with the topliners of Hollywood, and in a checkup by the international film trade magazine, “The Motion Picture Herald,” he was second (only 70 votes behind) to Gracie Fields, as the.theatre managements’ selection of the biggest Exhibitors spread through Great Britain, numbering 8451, cast votes the “Herald” survey being thus soundly representative and the value of Formby at the box-office resulted in his studio. Associated Talking Pictures, immediately expanding its budget upon his pictures ' Results subsequently

justified the move and now Formby is more strongly entrenched in public favour than ever. In England, Australia, Canada' and other British Dominions, Formby, by his work in the past season, has been installed as a star of equal .magnitude to many of those in American films, and definitely .he is the leader (at least from the boxoffice, or money-earning capacity) of the British comedy personalities. There seems little likelihood that this yearFormby will bow to any of his competitors as the exhibitors’ choice of their financial favourite. Firstly, with the wind of success behind him the studio has starred him in a greater

number of films —all of which, right through to “I See Ice” and “It’s In the Air,” have proved winners of outstanding merit.

Once it was the criticism of observers that the trouble with English producers was “that they don’t know what to do with a -star, when and if they find one. The main fault is that the producers keep their stars out of the public eye for too long a period between pictures, and the public soon forgets!” But George Formby is, at least, one instance in which this does hot apply. His screen success has been encouraged to greater height?, by consistent and regular appearances and even when be is not funning from the screens, his name is kept well in the limelight of radio in England. He is an effective explosion of the theory, often expressed by British players who have deserted the British studios for Hollywood, that though England is the traditional home of acting and writing talent no one can get a “break.” Not Going to Hollywood.

Significant of Formby’s standing is the fact that already he has been approached by leading Hollywood companies with attractive contracts as the bait to lure him to their studios. However, the comedian is not likely to move across the Atlantic. “Hollywood cannot offer me any more than I am already getting.” he states. “More salary for film work, perhaps, but even at that I am doing all right with A.T.P. and with radio engagements, revue, variety and pantomime on the side, I do not have any time on my hands — and I like working.” And, if George annexes the British star’s money-earn-ing honours for the past season, as his studio executives confidently anticipate he will, he will be busier than ever. The number of pictures now scheduled for him on the new season is as yet indefinite and will be determined solely by the number of suitable stories that can lie obtained. No risk will be taken to damage his reputation with inferior subjects. “Our plans for George Formby firstly demand good stories, secondly ambitious production treatment and thirdly, a variety of backgrounds that will assure the originality of every individual subject.” That statement was made by Ben Henry, genera] manager of Associated British Film Distributors does savour of a determination for the success of future Formby films.