COLOURED FILMS

Nelson Evening Mail, Volume LXX, 20 June 1936, Page 9

COLOURED FILMS

HOLLYWOOD DEVELOPMENTS

MANY PRODUCTIONS SCHEDULED LOS ANGELES, 22nd April. Indications of a decided turn to colour pictures are seen in current Hollywood developments. Fourteen feature pictures in colour are definitely scheduled by the major studios, and a great increase in short pictures in colours is evident.

Teclmicolour, with five plants in j Hollywood and with contracts for ten ' feature pictures signed and a score more in negotiation, reveals the trend toward colour in the following figures showing the total footage contracted for during the past four years: 1936, 50,000,000 ft.; 1935, 22,000,000 ft; 1934, 11,000,000 ft; and 1933, 9,000,000 ft. i At present 7 per cent, of the total gross footage in Hollywood is in colour. j

Cinecolour, another process, is building a new plant to be ready in August. Thirty-five per cent, of Warner Bros, and Metro-Goldwyn-Mayer shorts will be in colour this season, and Walt Disney’s entire production is scheduled for colour treatment. Dr. Herbert T. Kalmus, president of the Technicolour Motion Picture Corporation of Hollywood, New York, and London, said: “The current growth of the volume of our business, together with the enthusiastic interest displayed by almost every Hollywood producer and by the motion picture public, makes our present problem that of expanding to take on this business rather than that of obtaining it.” Dr. Kalmus will sail for England shortly to confer with officials of the Company’s London office.

“Full colour motion pictures wili dominate the' entire industry in the next five years. “Within three years it will be possible to produce full colour films almost for what black-and-white productions now cost. “FUZZINESS” CUT OUT “The greatest contribution in the past year to the improvement of full colour films has been the complete elimination of the ‘fuzziness’ and indistinctness hitherto characteristic of many of them. In the production of “The Dancing Pirate” problems of colour production are comparable with those encountered when sound pictures first came in. “We find some players unsuitable for colour, and our firm is starting a stock company of artists suitable for such productions. We shall produce ten full colour feature productions within the next two years.” Walt Disney is one of the leading advocates of colour pictures. . fie has scheduled a ]OO per cent, output in colour, willi the 1936 season calling for. 18 shorts and one feature.

Mr Disney said: “Colour provides many advantages: for cartoons It permits more satisfying characterisation and atmosphere. Public reaction all

! over the world has supported thi *?’ I opinion.” i Mr Selznick (International Pictures) J has started production of. “The Garden of Allah” in colour, the companj' having departed for Yuma, Arizona on location. Marlene Dietrich and Charles Boyer are starred in it. Mr Samuel Goldwyn has two colour features on schedule. In preparation is “Goldwyn Follies,” an international musical revue with an all-star cast. Some scenes for this will be filmed in London, it is stated. This will be followed by “Hurricane,” by Mr Nordhoff and Mr Hall, authors of “Mutiny on the Bounty.” Pioneer Pictures will produce “The Life of Custer,” and also 100 shorts for United Artists. “CHANGING OF THE GUARD” Warner Brothers have released a series of ten colour shorts, among them “Changing of the Guard,” showing the famous ceremony at Buckingham Palace. The Twentieth Century-Fox concern has started production as a colour feature of “Ramona,” ¥ ¥ ¥ ¥ “No Limit” * George Formby, the famous comedian, makes his screen debut in the comedy production “No Limit.” His is a brilliant comedy performance, and it seems likely'that he'will attain the same eminence on the screen as he has done on the stage. He plays the part of George Shuttleworth, a mere chimney sweep’s help wnose unromantic position was enhanced by his great ambition —to win the famous Isle of Man Tourist Trophy Race. ¥ ¥ ¥ ¥

Many producers are financiers first, showmen second, and literary critics a bad third. —Douglas Fairbanks, Jr,