Britain’s Bid in Postwar Movie World

Manawatu Times, Volume 70, Issue 267, 12 November 1945, Page 6

Britain’s Bid in Postwar Movie World

COMPETITION WITH U.S. SAN FBANCISCO, July 0. According to one of Britain’s great moving picture producers, Mr. J. Arthur Bank, England will be a force to be reckoned with in the postwar movie world. Mr. Bank says the British film industry has big ambitions that are likely to be realised in a stirring way before another year. Only a technical issue is holding back a sort of D-day for pictures from across the water now. Far-flung invasion of certain important features is held up only because of a shortage of technicolour stock for American prints, they contend. Consequently, ‘’Colonel Blimp,” “Henry V,” Noel Coward’s “Blithe Spirit” and “This Happy Breed” are being delayed. Concern is being felt by the British over the situation. Most of these films are distributed through United Artists, which must supply the technicolour celluloid, and there has been a hitch to date.

There are enough prints of “Colonel Blimp,” which has already shown in New York, for a limited presentation nationally. The others languish for the time being. The British are especially proud of “Henry V,” although they are heralding “Caesar and Cleopatra,” which will be ready toward the end of the year, as the big event. The English have black-and-white films, too, which probably will be seen before long. One is “Madonna of the Seven Moons,” and another “Fanny by Gaslight,” which has been viewed by American executives and highly praised. To be offered also is “I Enow Where I’m Going,” produced by Michael Powell and Emeric Pressburger, who recently came to the Uni led States seeking talent for their film, “A Matter of Eife and Death.” Boger Livesey, who has impressed in “Colonel Blimp,” is starred in “I Know Where I'm Going,” while Wendy Hiller, who was so well liked in “Pygmalion,” with Leslie Howard, a few years ago, is the leading feminine personality. Margot Fitzsimmons, a sister of Maureen O’Hara, is included in the cast.

Beauty and Talent. England is by no means lacking in be&aties, although in the main, talent takes precedence. The men always seem to have the edge on the women in pictures. They more easily capture top box-office ratings, unless it be a peculi arly popular star like Gracie Fields. But Miss Leigh will certainly exert a championship effect as the girl Queen of the Nile, to whom Caesar ultimately decided he would dispatch Mark Antony. The British want to make this “their ] day” on a thoroughly competitive foundation. That was the keynote of Mr. *•**’» m HeUKweod, sail

Los Angeles. He evidently represents the new progressive school of thought. His horizons aro large, and his interests vast, even extending to ownership in an American producing company. He will mako no ostentatious predictions about the future, but he impressed apprehensive Hollywood that he is going to see to it that films in England “go places,” as Americans say. He says he is not in the United States to reform American films, but to learn, and he wants his associates to have the same privilege, aud to learn not only about pictures, but about the United States —the real America —which is not necessarily just Hollywood. Biographically, Mr. Bank is distinguished by having been a teetotaller all his life, and teaching a Sunday school class, as well as being on the directorate of 14 milling enterprises, one of which alone is capitalised at more than 30,000,000 dollars. He has vast theatrical controls both in England and Canada. He has deeply impressed Hollywood by his seriousness and intentions to put English films right in the forefront of the world, and is determined that everything his aggregation produces will bo of the highest class iu his particular field. Olivier Starred Powell and Pressburger arranged with Samuel Goldwyn for David Niven to undertake the main assignment in “A Matter of Life and Death,” recruited Kim Hunter, formerly under contract to David O. Selznick, as the heroine, and also signed Raymond Massey. Laurence Olivier is the star of “Henry V.” Leading woman is Renee Acheson, although feminine parts in the production are not of great importance. “Caesar and Cleopatra,” on the other hand, puts Vivien ’Leigh to the fore as its luminary. The British interests have put everything they have got into this interpretation of a George Bernard Shaw classic. “Blithe Spirit” comes to the screen with most of the players who appeared on the stage in London, Noel Coward himself taking the role allotted in this country to Clifton Webb, and Kay Hammond, hailed as a stunning English actress, depicting the ghostly first wife. Robert Newton, who appears in “This Happy Breed,” is reported already sought by American film-makers. Actresses who are new to this country, like Phyllis Calvert and Jean Kent, both rated glamorous, are to be seen in “Madonna of the Seven Moons” and “Fanny by Gaslight.” Margaret Lockwood has leading parts in various pictures. Patricia Boc is observed in “Millions Like Us.’*