FACING THE NEW SEASON

Southland Times, Issue 23773, 22 March 1939, Page 8

FACING THE NEW SEASON

Prospects For British

Pictures

OPINIONS OF FAMOUS PRODUCERS

In an elaborate New Year edition of The Daily Film Renter (London), constructive views are expressed by the following executive producers in their endeavour to raise the standard of English-speaking films to a level not previously contemplated. Samuel Goldwyn:—“The day of the spectacular, as such, is gone. The motion picture can no longer depend upon spectacular scenes and vast armies of players to overcome any lack in story value. This year, as has been my policy in the past, I am concentrating on human interest subject, knowing full well it is the story that creates the star. It has been my privilege to bring to my studio the foremost writers in the motion picture industry, Robert Riskin, who has joined me in the capacity of associate producer. My first picture this year will be “Wuthering Heights,” from Emily Bronte’s clasisc novel. Charles MacArthur and Ben Hecht have prepared the screen play, and you will see in this film one of the finest British casts I have ever been able to asemble.”s Alexander Korda, producer of The Drum”:—“l shall consider myself a lucky man if I am able to retain and even enlarge the ground which I have gained in U.S.A. . . My views on colour are very decided. In these days it has progressed to such an extent that it is possible to make a picture in colour at relatively the same cost as would be involved by the employment of an expensive star. . . British production has undoubtedly passed through a trying period, but my faith in its future is unshaken. I believe that our films must have a definitely national point of view. America succeeded this way. The fundamental emotions are the same the world over.” BRITISH SUCCESSES Herbert Wilcox: “When I was in New York recently I found the three most discussed films were British—“Pyg-

malion,” “The Citadel” and my own “Sixty Glorious Years.” There had been a landslide in Holywood ‘hokum’ since my last visit; the new type of French and British film had made the critics sit up and the public more receptive. I was staggered to discover my old film, “Peg of Old Drury,’ which could not get a showing four years ago, was in its twelfth week, and had broken records at three theatres.”

Sidney Bernstein makes a plea for news rather than “view”-reels. “There was a time,” he says, “when the news reels presented an interesting and objective picture of current events. A deterioration, however, set in. The news reels, as at present edited, have become a potential danger. They have not confined themselves to the legitimate business of presenting affairs objectively; they have branched at times into commentary. Every man has access to the newspaper which most nearly interprets his views. But once he is inside the cinema he must either take or leave the news reel which is currently showing. In my view a news reel commentary should never be greeted by either hisses or applause.” Maurice Ostrer, who made “Owd Bob,” “Bank Holiday” and “The Lady Vanishes,” has a comment to offer on the universal success of “Owd Bob.” “Several well-meaning advisers tried to dissuade me and my associates from making this film,” he says. “The collective view was, ‘lf you film the simple story of a belligerent old sheep farmer and his faithful dog in the natural setting of the. Cumberland Fells, you are catering for a purely British audience. And there was only one dog which made money on the screen. That was Rin-Tin-Tin.’ In spite of this “Owd Bob” was made, and I have no need to enlarge upon its sucess all over the British Isles, America and the Empire markets.”