Motion Picture Herald (Mar-Apr 1939)

52 MOTION PICTURE HERALD April 2 2, 19 3 9 AUSTRALIAN CENSOR SEES MORAL IMPROVEMENT IN U. S. PICTURES However, O'Reilly in Report Says That Otherwise 1938 Was a "Barren" and "Uneventful" Period in Industry by LIN ENDEAN /';/ Sidney While taking cognizance of the improvement of the moral quality of screen fare and particularly as it pertains to product from Ihe United States, the censor report, drawn hy W. Creswell O'Reilly, chief Australian lilm censor, and just released by the Government, otherwise found 1938 to be "barren and uneventful." The report is notable for its "constructive advice." In commenting upon "the waning interest of the public" in motion picture entertainment, Mr. O'Reilly gives a vigorous pointer by referring to the progress of radio, television and other forms of competitive entertainment, expressing the belief that "the greatest hope for the future seems to lie in the operation of revivifying and rejuvenation influences within the trade itself." Mr. O'Reilly and his associates on the censor board, Lieutent Colonel F. J. Hurley, Mrs. G. D. J. Hansen and Major General I. G. Aiackey, appeal censor, have been reappointed. Without Imagination, He Says "Producers seem satisfied," the report says, in an impression of U. S. films that "from the aspect of general quality, technical achievement and entertainment value, 1938 has been barren and uneventful," "to turn out average (and in many cases, less than average) quality pictures without exerting much initiative or imagination in story sources or film treatment." American producers will undoubtedly question Mr. O'Reilly's opinion of a lack of initiative, in his summary of the year's product, but there is balm for the hurt in the fact that of the 467 features imported, the Hollywood studios were represented by 403. England's total was 61, and from the Continental studios there were just three. Of the total number, from all sources, only 10 featui'es were rejected, while cuts were necessary in 10.3 per cent of the films approved for exhibition. The latter percentage is consistent with the regular decrease maintained since 1934, when the percentage was 38.45. "This is mainly due," the report states, "to the improvement, from the censorship point of view, in American films. While the volume of work done by the censorship — as indicated by the number of films screened — increases year by year, the cases in which action has to be taken, by way of elimination or rejection, progressively decrease. This seems to me the experience of censorship bodies in the Englishspeaking countries of the world." Two "Continentals" Rejected Mr. O'Reilly said that three Continental features had been submitted for judgment, and of these two were rejected. "This," he comments, "is not an encouraging augury for the movement, revived from time to time, for the showing of Continental films for 'cultural' purposes. It should be realized that, if the ideas and incidents depicted upon the screen are to be taken as the criterion, the moral standards of Continental countries vary considerably from those of English-speaking countries." The importation of American-produced features in 1938 increased by six over the total WILSON TO RESIGN AUSTRALIAN POST Sir Victor Wilson, president of the Motion Pictures Distributors Association of Australia since its inception 13 years ago, has resigned and will leave office June 30. Before accepting the MPDA post Sir Victor ivas prominent in Australian state, federal and civic politics and ivas interested in several commercial projects in the Comnionivealth. Inability of the MPDA to reach agreement with exhibitors within the rigid framework of the organization on the several points on which dissension has been rife has been given as one of the reasons for Sir Victor's resignation. His successor has not been named although the names of several persons prominent in the industry in Australia have been mentioned. of 1937, while those from England decreased by 42. Thus, with its contribution of 403 films, an average of nearly eight per week, American product is the mainstay of the industry by a wide margin, and contrasts strongly with England's representation of 61, averaging just over one feature per week. Embracing features and shorts, American product comprised 70.5 per cent of all footage imported during the year. Six Australian-made features were exported and, in this respect, the Chief Censor stated : "Notwithstanding the existence of Australian films quota legislation in New South Wales and Victoria, designed to encourage the production of local films, the state of Australian production, as disclosed by export figures, is disappointing. For the five years, 1928-32, inclusive, the average was 5.4 ; and from 1933 to 1937 it was 6, which was the number exported for 1938. "News-items made in Australia maintain their high standard, and their projection on the screens of the world appears to be on the increase. The propaganda value of these films can hardly be overestimated. "While technical improvements— such as an increased number of color subjects, and the utilization of some form of third-dimensional photography — may capture the waning interest of the public, the greatest hope for the future seems to lie in the operation of revivifying and rejuvenation influences within the trade itself." In the 16mm film field, American subjects took a huge lift over the figures for 1937, the total being 1,010 compared with 346. England's contribution dropped off from 641 in 1937 to 580 last year. "There is an increasing appreciation of the value of sub-standard films for advertising, educational, documentary and religious purposes," the report emphasized. Hoyts Circuit's Own "Quiz" When local distributors did not, as a body, come in on a proposal to organize a nationwide "Quiz" campaign, along the lines of America's recent "Movies Are Your Best Entertainment" drive, Hoyts circuit took the initiative and set in motion a "Quiz" through its own theatres. Being handled as an individual drive in each state, the initial effort in Victoria has been called phenomenally successful. In its second month the "Quiz" carried awards valued at $5,000. Though the campaign was launched in the most unfavorable circumstances — a record heat-wave and a depressed public mental state owing to a tragic toll by bushfires throughout the state — box-offices immediately responded and takings have been maintained at top levels all through. The campaign will cover three months in Victoria and then will be launched in New South Wales and other states. Independent exhibitors feared the drive would carve into their takings and a move was made to halt Hoyts' "Quiz," on the argument that the awards were tantamount to gifts and consequently constituted a breach of the Cinematograph Exhibitors' Association rules. The contention was endorsed after a preliminary discussion by the association, but it was decided that no action be taken. Some members said the "Quiz" should have been operated as a general industry affair, but as Hoyts stepped in first they decided to grin and bear it. With the U. S. effort as a guide, the committee handling it here avoided difficulties encountered in America. Music Tax Raise Threatened Atotion picture interests and radio network operators, including the A-class stations controlled by the federal government, are up in arms against proposed increases in the fees levied by the Australian Performing Right Association. In the case of exhibitors the charges are fixed by arbitration, but in the last few months A PR A has made known its dissatisfaction with ruling schedules, this preliminary to a request for an increase, being met by a protest upon the part of official exhibitor bodies, who instead of a lift contend that a 50 per cent cut is due in the fees. Another aspect of the musical levy has been raised, in a demand by a gramophone group for payment for the use of records, claiming their right because of the use of certain patents involved in the making of discs for non-synchronized music. As the group concerned has a monopoly control of records distributed locally, exhibitors were faced with the option of either paying up or desisting to use the waxes. While certain managements have met the bill, a number have stood out, and both cinema and radio interests are closely watching an experiment with license-free records by the Australian Record Company, recently formed to press matrices obtained from the English musical houses of Bosworth and Boosey and Hawkes. This product will go on the market license free, at a lower price than the protected records. A wide range of popular numbers is listed. Concerns Music Copyright On the surface it seems that the APRA fee should embrace all musical angles, but that association does not see it that way, leaving the record charge purely a question to be decided between exhibitors and the owners of the mechanical patent upon which the charge is made. "Our concern is solely in the musical copyright," the association says. Naturally, in this circumstance it is problematical just where levies will end. With all the various patents involved in the mechanical side of film presentation today there is no telling from what quarter payment requests may be made. Now is the period of sailings and consultations in New York. The heavy budget of legislation, vitally affecting the accepted routine of trading, that has been introduced of late by the Australian and New Zealand governments, provides a wealth of material to keep the local leaders busy in conference with the men of New York headquarters.