The Cine Technician (1953-1956)

August 1955 CINE TECHNICIAN 121 commentary in their themes. This policy is reflected in the selection this year, for example, of Thorold Dickinson's Hill 2Jt Doesn't Answer, set in Palestine during the British mandate and with the cease-fire imposed by the United Nations during the Israeli War of Independence as its climax. The director's technical skill allied to a sincerely felt theme has produced a moving film. There are wars and echoes of wars in several of the other films. The Day Came, from Denmark, is a reconstruction of the activities of the underground movement and the triumph of the day of liberation : a deeply felt film, finely acted and resourcefully directed. From Austria comes The Last Act, a reconstruction of the last hours in Hitler's life. It has aroused considerable controversy in Germany and should create more than a ripple of interest here. From Sweden I shall mention one or two of the other national contributions. Sweden is sending Sir Arne's Treasure, a new version in colour, directed by Gustaf Molander, of the late Mauritz Stiller's masterwork. Carl Dreyer is attending the Festival to introduce The Word, the film he has made from Kaj Munk's play, originally filmed in Sweden. Czechoslovakia's chief contribution is a film in colour about Jan Hus. India has sent Munna, the touching film about mother love and one of the first not to rely on song and spectacle for its appeal. Rumania is represented by The Lark, which exploits the country's national dances, and Yugoslavia by Two Peasants. What of Britain ? I stand a little too close to the Festival organisation to comment freely; but the entry of Doctor at Sea, already widely shown, scarcely seems adequate. Gem from China I write before the final selection of the feature films and especially before the French and Italian entries are known. China will be represented by Shan-Po and YingTai, that exquisite and astonishing novelty, and Japan by Ugetsu Moyiagatari, produced by Masaichi Nagata who made the memorable Gate of Hell. Both these Japanese films are included among the five from which the 1955 Selznick Golden Laurel Award winner will be chosen. The other films are The Kidnappers, produced by Sergei Nolbandov and Leslie Parkyn and directed by Philip Leacock from Neil Paterson's story; M. Hulot's Holiday, with Jacques Tati; and, from Greece, The Barefoot Battalion, produced by Peter Boudoures and directed by Gregg Tallas. The selection of the winning film will be announced by Douglas Fairbanks at a ceremony to take place at one of the Festival performances on September 4th. integrity. The award ceremony will take place at the evening performance on Sunday, August 28th. Another gesture to be made during the Festival is a performance of the Richard Massingham Memorial Programme. Dr. Massingham was a regular visitor to Edinburgh where several of his films had their premieres. He found the atmosphere stimulating and took a vigorous part in the dis 1 ^1 -"'' ^ • m ui w^P^Cx. 'S>N%- ^^ — ■ '^ ^j^^k X i | 1 m ?":-'■;.* ~M^-« * \£ mm * 1 THE DAY CAME Saga of the Danish Underground Movement At the same performance Vittorio de Sica will receive the Golden Laurel Trophy, presented annually to a film maker, other than an American, for consistent contributions, through the production of motion pictures of high cinematic merit, to the purpose of the awards, which is to create international goodwill and understanding. It is significant that in a year of decreasing international tension, the eligibility of films for the award has been extended for the first time to the whole world. This is one of the ceremonies which will add to the interest and importance of this year's Festival. Another is the initiation of the Richard Winnington Award. Its aim is to perpetuate the high standards and principles set up in film criticism by the late Richard Winnington and it will be made to the director whose film is reckoned of the highest social and artistic cussions held informally at Film House. A performance of his films is therefore highly appropriate. Several lectures are to be given. Mary Field will give the second annual celebrity lecture arranged by the British Film Academy. Her subject is concerned with the nature of audiences which she has found time to study amidst her preoccupation with matters concerning children's films. Another, arranged by the British Film Institute, will be by Carl Dreyer, who holds some decidedly unorthodox views about film-making and can express them with conviction. Special prominence is to be given to children's films at the Festival this year, although I should point out in passing that there have been performances of children's films since the Festival was launched nine years ago. The prominence takes various forms. Forenoon (Continued on page 122)