BRITISH FILMS.

Horowhenua Chronicle, 18 March 1927, Page 8

BRITISH FILMS.

VITAL TO THE EMPIRE

LABOUR PARTY OPPOSES LEGISLATION (Received Thursday, 5.5 p.m.) LONDON, March 16, Sir Philip Cunliffe-Lister, President of the Board of Trade, moving the second reading of the Cinematograph Films Bill, pointed out that it followed the methods considered at the Imperial Conference. Only 5 per cent, of the film s at present being shown in the Empire were of British origin. The cinema was the greatest advertising power in the world. Foreign films operated against British trade throughout the Dominions. Exhibitors throughout Britain, he continued, recently received requests if they objected to the Bill, to telegraph to their local member of Parliament. Prepaid telegraph forms' were enclosed. The requests came from a European motion picture company, of which the chief shareholders were Americans. Producers in America were enabled to forge ahead in wartime when British film-making was stopped. The Bill was necessary to give security to British film ihakers, but the compulsory quota of British films was deliberately kept low because they recognised the necessity for competition. The success of the British film industry involved gieat interests national and Imperial. The determinations of the Imperial Conference must be translated into action. Labour Criticism Mr. J. R. MacDonald (Lab.), Leader of the Opposition moved the rejection of the Bill on the grounds already announced. He claimed that the Government had not shown sound reason for the Bill. Where was the difference between, the provisions of the Bill and forcing tobacconists to sell 25 per cent. Britishgrown tobacco. “Foreign producers would only laugh at the confession that British films cannot be produced without a Government to help you.” The Minister: "Are you aware that there is a 50 per cent, quota in Ger-

many?” Mr MacDonald: “It is purely nominal. If the Government is adopting the principle of the bounty, it should be for a definite period.”

Mr. W. Runciman (L.) described the Bill as the craziest form of Protection. The public were entitled to the 'best films, wherever produced. Mr. M. Day (Lab.): “The Bill does not protect the renter and exhibitor, for the public are the only judges of the bad producer. Britain last year only produced enough for 3 per cent, of the programme ,and only a third of them were worth seeing.” Mr. H. G. Williams (C.) said that exhibitors were not free buyers owin to the iniquitous s ystem of “blind” block bookings. A supply of good British films could be if the market offered.

The debate was adjourned.

studios on big scale. FAMOUS NOVELISTS COOPERATE. RUGBY, March 16. Following upon publication of the projected Government measure for assisting the British Cinematograph industry come s the announcement of a £1,000,000 Empire-wide organisation set up to produce British films on a big scale.

Leading authors producers, actors, and artists are associated with the project, -and a five-years option on the film rights of stories by fourteen of the best known English novelists has been secured by the new organisation which is entitled “British Incorporated Pictures. Limited.** Affiliated with it will be producing companies which will operate in Canada. Australia, South Africa, and India. The ultimate aim is to establish a “British Hollywood” in England, in which extensive studios are to be built giving employment to large numbers of people. Contracts have already been drawn up for the world rights of the first three productions. The actual production, like the authors and artists, will be purely British. English producers will be lent by an American organisation on a reciprocal basis and brought back to their own country to wdrk.

British authors associated wlffi the scheme include Galsworthy, Arnold Bennett Conan Doyle; among the producers Is Gordon Craig; the actors Include Gerald du Maurier and Sybil Thorndike, and the artists Frank Brangwyn and Edmond Dulac.