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FILMS OF THE QUARTER
FORSYTH HARDY
For the first time, it seems, British production is the most interesting and important of the quarter. Alike in promise and performance the news is imposing. Douglas Fairbanks has decided to make London his headquarters for future film production and his move, which is to be followed by other notable screen personalities, is a further indication of the decline of Hollywood and the growing importance of Britain as a world film centre. The films to be produced in this country in alliance with London Film Productions and distributed in America through United Artists will inevitably add to the prestige of the British film abroad. There is great promise also in the new Gaumont-British programme: Red Ensign, a story of the shipyards, is being designed as a tribute to the Merchant Service ; Northbound is to describe the life of the men wrho sail in the Arctic; Cecil Rhodes will give an impression of Empire building; Men Without Work will, plainly, have a social theme; and Mary Queen of Scots will make an interesting contribution to the growing group of historical pictures. With projects such as these announced, the progress of the British film becomes something to be followed with lively expectation.
In performance also Britain's record is worthy of more note than usual. Victor Saville's / Was a Spy and Alexander Korda's The Private Life of Henry VIII are definite achievements. In addition to the latter film, Korda has made The Girl from Maxim's, a witty adaptation of a lighthearted French farce, with lovely photography by Georges Perinal. Bitter Sweet, while not adding anything to the stage version, is distinguished by its pictorial quality and its sense of showmanship. And the growing enterprise of British producers is represented by The Fire Raisers by Michael Powell, brought to the screen while its theme is still front page news.
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