Documentary News Letter (1940)

DOCUMENTARY NEWS LETTER MARCH 1940 I which the miner is subject at his work ; how the determined ambition of one to equip himself to work in the interest of fellow-men is in the particular instance frustrated by contact and association with the "non-mining" world, with consequent delay in doing effective work owing to attempting to meet the desires and social ideas of a "non-mining" wife and the earnest desire of a miner husband whose heart is devoted to the cause of his fellow-miners. The film gives abundant evidence of the ready and strong sense of unionism among the miners but it over-emphasises the influence of unofficial unionism. The portrayed indifference of the official union representatives is incredible because just as Mr Fenwick had acquired, from experience, knowledge and zeal that the workings of the pit should be worked with due regard to plans of previous workings, so miners' union representatives are men of zeal and ability acquired from similar experience. Nevertheless, the cause of the mining disaster emphasises the importance of all parties concerned with the workings of the pit paying very close regard to the plan of the workings as a whole. The mining disaster and the accompanying scenes of the workings in the pit are very good ; so realistic that nobody could fail to be gripped with horror that fellow-citizens are regularly in danger of such tragedy. These scenes will be particularly understood by the mining community and the human tragedy attending such scenes will be fully appreciated by all classes after having seen this film. All who have knowledge and experience of mining life in all its aspects will appreciate and enjoy this successful result of film production. Allowing for inconsistencies with actual practice, such as the union's indifference and disregard for the dispute, and the suggestion that a miner, having become a schoolteacher by profession, as such is appointed a miners' union official, the film is so far the most complete attempt to cover mining life in all its aspects, individual, family and village : in the home, in the pit and in association as fellow-workers. One thing which will be appreciated in the story of this film is that it is free from any suggestion that the mining community is any less moral than any other class in society. The Stars Look Down is as yet the most successful attempt to present to the public the lot of our mining folk and will undoubtedly assist understanding and appreciation of the human and material difficulties which have confronted and do confront the miner in order that the nation shall have coal. Next Month THE INSIDE STORY OF U.F.A. EDUCATIONAL FILMS UNDER THE NAZI REGIME FILM OF THE MONTH FOR CHILDREN THE WIZARD OF OZ By an Educationist THIS IS A fairy tale and it has an "A" certificate. This means that unless local authorities do something about it, children may only see this film if they go in the company of an adult. We presume that a "U" certificate has been withheld because there are frightening sequences in the film. And this is true. Children (and adults) are quite likely to be scared by the witch and all her paraphernalia of magic. They are likely to be scared more than when they see the footprints in the sand over Robinson Crusoe's shoulder, but considerably less than when they get in the barrel with Jim Hawkins or 'hear Old Pew come tapping up the road. But that is literature, and maybe films are different. I believe they are, and the witch in the Wizard is the realest witch I have ever seen. Parents must therefore judge (or guess) for themselves. For us, if we had to arrange a children's matinee we would agitate until the local authority gave permission for the Wizard io he shown or we would rally sufficient teachers to provide the "A" quota. For the Wizard of Oz is the best fairy tale we have seen, and if children still like fairy tales they will like this. Baum's story is not well known in Britain, but in the United Slates it enjoys with children the reputation which Alice in Wonderland has in this country. It is the magic story of how Dorothy (Judy Garland) is lifted by a cyclone out of her Kansas home and dropped down in the land of Oz, which is Fairyland, or Dreamland, or, if you like, Technicolorland. She meets the Scarecrow (Ray Bolger) who wants a brain, the Tin Man (Jack Haley) who wants a heart, and the Lion (Bert Lahr) who wants courage. Dorothy just wants to go home. So oft" they go to see the Wizard, to see what he can do for them. The journey takes them through the many adventures you would expect and some you would not. They fall foul of a witch, journey dreadfully through an enchanted wood, are helped by goblins, and are attacked by flying monkeys. The Bad Witch keeps weaving spells and the Good Fairy keeps moving the amendments. Eventually, after some of the most terrifying adventures and some of the most delightful episodes, everything turns out all right, and Dorothy gets back to Kansas. She promises never to leave home again, which seems silly because it is obviously much more fun being with a Tin Man and a Lion and a Scarecrow in Technicolor than it is being in Kansas in sepia. "For children of all ages" is easily said, but even if you are too sophisticated to be either entranced or scared by the subject matter (which means that you are probably 16 past) there is enough technical magic to make you sit up. The cyclone sequence can look most screen storms straight in the face, and outface most of them. Some sound engineer had the time of his life. The Technicolor is in a class by itself. Accurate colour does not come into the argument, for starting from the coloured pages of children's books it has already left reality behind before it steps into the Land of Oz. And once in the Land of Oz who cares about reality? The result is that the highways are custard yellow and castles lime-drop green. One can only gasp, and salute the Art Director. The music too is good : unobtrusive in the main but with one important whistleable tune. Nearly everyone is going to compare it with Snow White so why not us? Snow White was beautiful but unreal, and the human characters were very unreal. The Wizard of Oz is real. The human characters are real and beautiful: and the immortals, while rich in their immortality, are real too. Maybe that is why the Censor held out on it. By a Schoolboy aged 12 {Raynes Park County School) I THINK THE Wizard of Oz is a good film with a true Motto behind it. The little girl who was knocked unconscious by a whirlwind while returning from running away from home had a dream in which she landed in Munchkin Land. I loved the funny little inhabitants of this and especially the three little "toughs" and the Mayor. He wore a three-cornered hat, and a green waistcoat ornamented with a very large watch. She met three very queer people on her way to Oz, who had faces like farmhands that she knew. A good witch whom she met told her that she must go to Oz if she wanted to go back to the earth, and gave her a pair of ruby slippers to protect her from the wicked witch. The scenery while she is going to Oz is very realistic for a hot summer's day, with the road winding away into the distance and the flowers waving in the breeze. It is funny to see them all shiver and shake in the presence of the Wizard, whose face appeared on a screen accompanied by flashes of flame. 1 think it is rather sad that the Wizard turned out to be a man working levers and knobs, but nevertheless fulfilled his promise to the three friends of the little girl, but by a fluke could not to her. When the good witch tells her to repeat "There's no place like home", she wakes up and finds herself in her bed muttering it. In all, a very good film with lovely scenery all through, and fine acting by Judy Garland as the little girl. With some frightening scenes by the wicked witch, mixed with some funny parts by the little girl's friends, the tin man, the straw man, and the non-courageous lion. An excellent film with a motto : "There's No Place like Home". Which I have often heard my father say while on leave. {"■'The Wizard of Oz" is an M.G.M. picture, directed by Victor Fleming.)