Film and Radio Guide (Oct 1945-Jun 1946)

24 FILM AND RADIO GUIDE Volume XII, No. 2 quietly to those who are boisterous. By being quiet of voice you will accomplish more than by being aggressive. 5. Remember that there are other people in a movie audience besides yourself and your friends, that they have paid to see and hear the program just as you have, and that they are entitled to peace, quiet, and respect during the performance. 6. Remember this golden rule of fair play in the treatment of furniture and equipment in a theatre: Treat chairs. rugs, and other furnishings as you would have your own treated by visitors in your home. Vandalism is one of the lowest forms of behavior. 7. Remember that, in case of danger of fire, self-contiol is of prime importance. The danger is not so much from fire as from injury due to panic and rushing to get out. 8. Remember that, once you are outside of the theatre, an expression of opinion regarding pictures that you have seen is much to be desired. Make your comments on as high a plane of thought as possible. 9. Remember that, in discussing pictures, you should listen closely to the comments of others, for the art of conversation depends on attentive listening. 10. In general, remember that the success of our American democracy depends on independent critical thinking, on self-restraint in crowds, on the exercise of imagination regarding the consequences of the mob spirit, and on adherence to the highest ideals of fair play in public conduct. Jules Verne Classic Made Available in 16mm Another of the classics of literature, The Adventures of Michael Strogoff, by Jules Verne, conies to the school screen in IGmm, through the Bell & Howell Filmosound Library and its branches, dealers, and associated independent film distributors. The picture was produced in English, French, and Spanish versions, by the noted Russian producer, Joseph N. Ermolieff. It features an outstanding cast and embodies exceptionally lavish production values, even measured by the highest Hollywood standards. At the time the picture was released theatrically (by RKO, under the title. The Soldier and the Lady), a study guide was published by Educational and Recreational Guides, Inc., to encourage cultural group support and discussion. This guide, written by Frances Taylor Patterson, instructor in motion pictures at Columbia University, is republished here in condensed form. Parts that dealt with matters applicable primarily to discussion based on theater showing have been eliminated in this revision. The original guide is out of print, but re-prints of the condensed guide are available at 5c a copy or 25 for $1. The function of the 16mm film library in effecting the rescue of worthwhile theatrical films from oblivion was never better illustrated than in this case. Here is a deathless story, retold on celluloid and projected in light, sound, and motion. In the theater it delighted millions with its story of vigorous, romantic adventure. Now, in thousands of schools, clubs, homes, churches, and other centers of community life, it will entertain, stimulate, and educate millions more, and for many years to come. The theatrical film production impelled the publication of two low-priced versions of the book, one by Grosset & Dunlap, the other by A. L. Burt & Co. The non-theatrical release is creating a new demand for these volumes. The role of the 16mm filmrelease was recently likened to that of the “standard” or “classic” music republication. The similarity o f function was pointed out by Wayne King, one of the country’s famous band leaders, who is an educational film enthusiast. Selecting films for his family recently from the new Bell & Howell 112-page catalog of educational films, he is reported to have remarked that relatively few outstanding numbers in the annual crop of popular tunes warranted re-arrangement into “standard” presentation. It is the test of time that makes a classic — whether of music or of film. In the case of The Adventures of Michael Strogoff, the story is a minor classic to start with. The selection of such a film as meeting non-theatrical standards, after its normal theatrical life has been fully exploited, notably extends its cultural usefulness. It is equally the concern of theatrical a n d non-theatrical film sources to see to it that only the best — and all of the best — of the 35mm films become available, in proper time, for community use in 16mm. Too many big films of the “Strogoff” type lie idle in the vaults long after their theater role has ended. For example, why does not MGM make David Copperfield available in 16mm?