American cinematographer (Jan-Dec 1926)

August, 1926 AMERICAN OiMSMATOGRAPHER Nine Bad Negatives Hurt American Films in Europe Adverse Criticism Due Largely to Worn-Out Negatives Received in Germany °$ World Famous Cinematographer Studies Situation for Six Months. Finds Cause German indifference or opposition to American motion pictures is due largely to the dilapidated condition of prints and negatives when they are received in Germany, is the view entertained by Charles Rosher, A. S. C, in an article, which appearing in the Berlin Lichtbild Buehne, Berlin, has commanded wide attention among the American film trade papers. In Berlin Rosher, famous as chief cinematographer on Mary Pickford productions, is at present, during the course of Miss Pickford's tour in Europe, under contract to Ufa with headquarters in Berlin. Studied Situation For the past six months, Rosher has attended every premier of American, German and other motion pictures to be held in Berlin. It is his observation that the majority of negatives which reaches Germany is in such deplorable condition that even the most proficient of the country's laboratories would be unable to reproduce an acceptable print. Wear and Tear This condition is brought about, Rosher believes, by the facts that not only more than 200 prints are often required for the home market, but because, before a negative reaches Berlin, it often has been promiscuously used, cut, printed and spliced on way points during the course of its life in France and England. Often, Rosher finds, it is a secondary negative which comes to Germany and which has previously gone through French and English laboratories. Must Understand Audience ''Besides," Rosher continues, "the American producer knows too little about German psychology. If the American industry wants to maintain its footing on the German market, every producer who intends to send his product to Germany should have a man in his studio while the picture is being shot. This man would have to be thoroughly acquainted with the German psychology. The ideal would be a German expert who has lived in the United States for a number of years. This man would act as an advisor to the director and should have even authority to see that certain scenes or passages would be filmed in two different versions, one to suit the Americans, the other catering to the German taste. This man should also be able to translate the titles into German right in Hollywood, so that misunderstandings on the part of Berlin editors would be avoided." Rosher has observed that American films have been absolutely misunderstood and maltreated in their German re-editing. The expense connected with the engagement of such experts, he says, does not compare with the advantages that will accrue on the market not only in Germany but in entire central Europe. To the German producers who aspire to the American market, the noted cinematographer gives the similar advice — to have American advisors not only on the set but, above all, in the department in charge of the selection of scenarios. Offers Cooperation Creco, Inc. 923 Cole Ave. Hollywood, Calif. July 6th, 1926. Mr. Foster Goss, Editor, American Cinematographer, Guaranty Building, Hollywood, California. My dear Mr. Goss : It was with extreme interest and enthusiasm that I read your article in the July issue of the American Cinematographer on the establishing of an experimental and research laboratory. May I say at this time that myself and any member of my organization is at the service of the A. S. C. and the individual members in an advisory capacity, from a lighting or electrical engineering angle. In all sincerity, HS:G H. Sylvester. ±M