NOW UP TO HIGH STANDARD

Timaru Herald, Volume CL, Issue 22043, 16 August 1941, Page 8

NOW UP TO HIGH STANDARD

British Propoganda Film Early British propaganda films released through the Ministry of Information have not been conspicously successful. In most instances the intention was excellent, but the work lacked both artistry and imagination, says a writer in the Melbourne “Argus.” They had body but no soul. The films seemed to be the work of painstaking officials who were doing their best with a medium they did not understand. Lately there have been indications that someone with the necessary qualifications for the job has been bestirring himself. The department’s latest effort, "Four Comers,” sets a standard which, if maintained, will make British propaganda worthy of the Empire’s cause. "Four Corners” Shows the casual meeting of three soldiers on their first leave in London. They are an Australian, a New Zealander, and a Canadian. They wander into Trafalgar Square, and their immediate need is a drink. Leslie Howard, enjoying a ;ulet smoke, overhears their discussion and offers himself as a guide. Over a pint the three discuss with Leslie Howard the reasons for enlisting. He senses their restraint, and gently chips them as being Idealists. They deny the charge, but "protest too much.” Leslie Howard then offers to show them something worth seeing, and takes them up to the dome of St. Paul’s. Then, with the city stretched out below them, he begins a quiet talk, pointing out to them spots associated with Imperial history. As he speaks the cameras pick up the story in a succession of shots of breathtaking magnificence. The great stretches of the Thames, “liquid history,” reveal the Tower Bridge, Chelsea Hospital, and Tilbury, where Leslie Howard softly quotes Queen Elizabeth's speech at the Armada review. We see buildings and places associated with great Imperial figures and great Imperial events. Then, as the House of Commons comes in, he passes on to the United States. "Yes, it was in the House of Commons more than 150 years ago that members cheered the news of the victories of the American rebels over the British troops.” There is no “skite” or bombast in the film. Leslie Howard’s delivery is perfectly in tune with the entire soulstirring panorama. If the Britisn Ministry of Information can maintain this standard its existence will be worth while. No one could see “Four Corners” and remain unmoved. For American consumption it should be worth more than all the statesmen s utterances put together. Our friends Adolf the Damned and Co. Unlimited are making desperate propaganda efforts to counteract proBritish sentiment in the United States, despite the hardening of the opposition to the Nazi Powers. They are moving hades and earth to obtain screening facilities for which is “Victory in the West.” This one, showing the advance through Holland. Belgium, and France, has been made especially to boost the heroism of the Nazi soldiers. American reports tell that in the announcer's it says that the German soldier is seen with "a heart of steel in the tenseness of the struggle, and a humane light in his dust-covered face.”

That poetic touch about the “humane light” in the face of men who butchered thousands of civilians, and who assumed Dutch and French uniforms to assassinate soldiers, is still another proof that the Hun is absolutely bereft of humour. However, the German agents in U-S are having very little success with their screening on account of the universal determination of exhibitors not to screen Hun propaganda. Of the other two productions de luxe made in Germany, one is "The Irish Tragedy,” a savagely anti-British film, which aims at stirring up Irish-Ameri-can sentiment against American intervention. It is described as ‘a terrific slam at the British for the alleged subjugation of Ireland in their own interests, and their efforts to draw Eire into the war against Germany.” The third film. "The Eternal Jew,” is made up of the rankest anti-Jewish imaginings of Julius Streicher, the rav-

ing Jew hater. He is said to have broken his own records in his vilification of Jews in this film. One reason why the industry is determined to keep German films off the American screen is a retaliation for the German banning of Hollywood stuff in all countries they have freed from the tyranny of British and democratic influence. These now number 15, and a review of the situation shows that in the 15 Germanised countries nearly 12,000 theatres that formerly screened American productions have been barred against Hollywood. Another thing that has roused American ire is the antiAmerican propaganda in Nazi-control-led French newspapers. Occupied France is being told that Germanv will deliver France from the curse of Americanism. Accompanying a bouquet of flaming insults to U-S, the papers define “Americanism" as an acute form of Anglomania. Despite all this, however, the Hun is asking for preferential treatment in the U-S.

Only Adolf would think of asking favours from a man after knocking him down and stealing his wallet. Queer little scraps of information come from Hollywood on film-making. One is of an artificial lake excavated by the Fox Studio for making marine' and similar films. The lake has an area of 125,000 square feet, and has In its time been converted to curious uses. Filmgoers have seen it dozens of times without recognising it as the same sheet of water. It was used for the Chicage waterfront in “In Old Chicago.” After that Richard Greene, as Robert Fulton, floated the first American steamboat on it as New York Harbour in “Little Old New York.” It was the Californian Harbour in “The Mark of Zorro,” and the Missouri River in “Brigham Young.” It has floated every type of craft from birchbark canoes to submarines and battleships. Although I have seen these films, I never suspected that the one sheet of water could be converted to so many diverse uses. It just shoyvs the influence of evil communications. Before Hollywood took it in hand the camera was as truthful as George Washington; now it has learned to lie Goebbels green with envy.