Exchange of Film Stars

New Zealand Herald, Volume LXXIII, Issue 22540, 3 October 1936, Page 16 (Supplement)

Exchange of Film Stars

Greater Movement Across Atlantic

BUT, he goes on, there is no basis for such thoughts; these actors will g;o back again when they have finished the films they bave come to Britain to make. And there is no reason to suppose that Hollywood is nearing its end because Marlene Dietrich, Miriam Hopkins, Ann Harding, Sylvia Sidney, Constance Bennett, Edward G. Robinson, Henry Fonda and other famous people from America s filmland have come to Britain to make pictures. They will go back, too. The simple fact is that a situation has now been reached which has been foreseen for years by intelligent observers of the filir business. From now on, stars of both rationalities will move to and fro across the Atlantic in an amicable of talent. There are not so many people with the right attributes for stardom that either London or Hollywood can afford to keep its players at home. There was a time, of course, when St was Hollywood or nothing; if you wanted to get on in pictures you had to go to America, and the Hollywood magnates saw that you stayed there. 'A seven-years' contract tied you. Since then the British film industry has been reborn, and now those stars who are wise refuse to let themselves be bound by a Hollywood contract. They sign on for one or two pictures at a time and t'.ius have a chance to keep the pot boiling in each country. Besides, there never was such a demand for pooplo who can talk good English on the films, and Hollywood is much more humble now in its approach to British players. Those awful days are over when all the stars talked the worst American slang they could muster. It is "thu thing" now in Hollywood to speak like an English lady or gentleman. The Hollywood magnates like their stars io go over to Britain: for an occasional film, and' the stars like to, too. It does the stars good, fessionally, to learn how English people behave and how they like them to behave on the screen, and -they get a lot of mental recreation during a trip to the Old World. Their ideas are broadened; they have a nice healthy sea voyage and a rest from the monotony of Hollywood. All the best stars say that Hollywood is a fine pi ice so long as you can have a break frcm it occasionally. The money is good there and the climate is heavenly for introspection —the favourite recreation of artists. But the place lacks theatres and other cultural pursuits, and there is always the disadvantage of living in a colony in which all the inhabitants have identical interests. To say nothing of thfe scandalmongers!, Another reason why the stars like a change of scene is—income tax. In some mysterious way you can save a bit if you do not reside in either country for more than six months at a time. Some stars who come from America stipulata that their income tax shall be/paid by the British company which employs them. This also results in economy, and. even a little economy on tax is quite a lot of money in the case of a film star. They frequently have their travelling expenses paid, and those of llie family, where one exists. * But British films can afford these ] things now, the ugh there are econom- j istsi who warn the producers that they i are heading for ruin if they persist in their present rate of expenditure on their pictures. A couple of years ago £IOO,OOO was an awful lot of money to spend on a film made in Britain, but I to-day that sum is frequently exceeded and may go up to £150,000. The practice of using stars from Hollywood while players at home are neglected is criticised —and not without cause —but it may be argued that the inclusion of Americans with more famous names in a cast helps the lesserknown English people who appear in it to become popular with greater audiences. It in a safer practice than spending thousands on pictures with artists who have not won their spurs.

Jin Hollywood new players who look like potential favourites are teamed with established stars until the audiences get to know and to like them. That, in effect is what British producers do when they engage American stars to act wbh their budding actors and actresses. America is getting to know several British stars. Jessie Matthews, already

tme, of the three most popular actresses in British films in England, 13 now a money-maker in the United States; her latest film, "It's Love Again," has had £t splendid reception there. One • day she will go to Hollywood in exchange lor some star her emplovers have "borrowed" from America; but it will not bo until both Jessie and her employers are willing. Anna Neagle is an-| other girl who will' be "lent" to America before long. And little Novo Pilbeatpi's "Tudor Rose" is making her well known among American audiences. These, of course, are people who are innder contract in England. There are others* who prefer not to be bound down by agreements, so that they can Bay occasional visits to Hollywood. Sir ' edric Hardwicke would never turn himself over to an American company, but he arranges his affairs in England bo that he is free to go whenever—as now—fie feels like it. Robert Donat hates the idea of going ! to Hollywood at all. He fought his way P- Vj ?- ia t in the courts, but it is be- ; lieved he is under an obligation to i one more film there one day when f an Persuaded into leaving his ■ H' „

MANY ADVANTAGES TO THE PLAYERS Within a few days last month four London film actors returned to Gr2at Britain from Hollywood, writes A. Jympson Herman in the London Evening News. Thinking of the debt America owes to Britain for lending so many of her best actors and actresses for American films, people will say: " Ah, theii ere coming back now," Mr. Harman adds.

Grncio Fields is credited with the intention of signing soon for an American firm, but she is supnosed to bo against going to Hollywood. Presumably she will be able to make her "American" Bictures in England, now that the [oilywood firms are taking so large a part in British production. Then there are stars who have longterm contracts in Hollywood, and are allowed to come homo for three months of the year to make British films. Altogether, this shuttle-star business is wonting out very satisfactorily for the players. They get a change of scene, can make one country's producers bid for services against those of the other and, with a little care, can arrange to work in Britain in the summer and in sunny California when the fogs descend oil London. 1 can think of no more convenient occupation, Mr. Harman adds.