BRITISH FILMS.

Otago Witness, Issue 3764, 4 May 1926, Page 17

BRITISH FILMS.

STAR ARTISTS'S OPINIONS. (From Oub Own Correspondent.) LONDON, February 24. It is ' understood that, so far, the question of encouraging the British film industry has been the subject of departmental consideration, but that the time will very shortly arrive when the matter will be brought before the Cabinet in order to ascertain the views of the Government as a whole. Opinion at the Board of Trade appears to have turned definitely against the idea of immediate legislation providing for the compulsory exhibition of a quota of British films. It is now suggested that action of this kind should be postponed for a period of 12 months in order to see whether during that time the kinema trade itself is prepared voluntarily to bring about an improvement in the proportion of British films exhibited. Should the results be considered unsatisfactory, the Government would then hold itself free t-o deal legislatively with the quota question. Among correspondents who fiave given their opinions regarding British films is Mr Ivor Novello, the well-known film artist, who has worked in France, America, Germany, Italy, and England. “So heartily do I believe in the future of British films,” he writes to the Daily Telegraph, “and the certainty of their finding a market all over the world, that I have definitely thrown in my lot with a British producing concern, and have signed a long contract for a series of films to be made in England. “T think it is only quite recently that British film producers have realised the qualifications necessary to make a British film acceptable to the American market. One of these is undoubtedly to have a cast which includes as one of its members an American woman ‘star’ whose appearance in the pictures will ensure, at any rate, a hearing—or must we say, a see- . ing?—in America. American films have risen to their present high market value, j not so much through the intrinsic worth j or artistry of the films themselves, but through the popular appeal of the leading character. There is no reason why even- j tually our British artists should not become just as world famous, but while we are, so to speak, marking time, we should endeavour to force our films into the j American market by the inclusion of one I of their popular favourites among the cast l of British artists." ! Miss Fav Compton considers that most of the faults attributed to films made in this country may be traced to one source, and one source only—lack of money. f “For lack of money the director,. who is the creator of moving picture play, is hampered at every step. He must severely curb any impulse that involves additional expenditure over and above his authorised budget. If he is a man of imagination he cannot give rein to it. To construct a work of art under such conditions is a task of extreme difficulty. What surprises me, indeed, is that, in all the circumstances, so many British films reach the high level of excellence they do."