Movie Makers (Jan-Dec 1952)

325 The FIFTH FESTIVAL at CANNES An American amateur reports his findings at this international film forum WITH the crystal blue waters of the Mediterranean serving as a background, the Fifth International Amateur Film Festival was held this fall in the swank resort town of Cannes on the French Riviera. Under sponsorship of the Cannes City Council, the French Minister of Education opened proceedings in the newly built 2000 seat Palais des Festivals. By great good fortune, it was this American amateur's privilege to attend the sessions as unofficial observer of the Amateur Cinema League. Cine clubs from all over the world, ranging from darkest Africa to sunny Los Angeles, were represented. Films were exhibited in three sizes: 8mm., 9.5mm. and 16mm. However, both the 8mm. and 9.5mm. widths proved unsatisfactory for large-screen presentation. The throw to the screen resulted in poor image rendition. The committee of judges had more than seventy films to choose from. A breakdown in categories reveals that over half of all entries were documentaries and travelogs. Scenarios and films with a definite story line amounted to one quarter. Fifteen percent were devoted to surrealist or imaginative themes, while the remaining ten percent were medical and surgical films. The latter, by the way, stimulated the lay audience to a frenzy of pleasure — an enthusiasm which your reporter could not share. About eighty percent of all films were in color, mostly on European Kodachrome. Here is an emulsion which this writer found more subtle in tone and more pleasing to the eye than its American counterpart, despite the assurance of J. Valdes, chief of the Technical Division of European Cine-Kodak, that the two films are the same. Perhaps, then, the difference is in the processing. Also shown were Dufaycolor, Agfacolor and an unnamed Italian film; but most cinematographers preferred the Eastman product. As for sound, magnetic as well as optical tracks were used. A few industrious gentlemen tried tape recorders; but their synchronization was not good. Obviously, they do not as yet have use of the stroboscopic tape method offered here by Revere in Synchro-Tape. Generally speaking, Spanish films used dramatic, lowangle treatments with cli^ c^l mactic story endings. The ■o French tended toward m — documentaries and small o . vignettes of life. Italian sriKKfbi Q films were realistic and < ^*TtfI^^. co ^arcl hitting in their de I— fflP^%?' 'W^^^ livery, while the Swiss _ ' — films were clear, crisp and Z ^ concise. Their little coun — " I try offers fine shooting of Kb!MUtZ.-VCJUo i_u landscapes which are un Z C R O I S I £ R E 1 equaled anywhere in the )> ~ world. African films dealt H rj primarily with wild life O u, and native customs. Z Q From Spain the judges ^ .». ■ '-.. . .... ._ selected a scenario film, DU FILM AMATEUR El Campeon (The Cham NEIL LEVINE, ACL pion), by J. Castelltort and J. Llado for the Grand Prix and the Festival Challenge Cup. The picture shows how the hero worship of an adolescent youth and his desire to please the champion result in misadventures which are hilarious and very human. Also from Castilla came the outstanding fantasy, Impasse, in which Pedro FontMarcet traces the gradual deterioration of an artist's mind. Low-key lighting, a moving camera and superimposed images contribute to this psychological drama. Among the many award-winning films from the Club des Amateurs Cineastes de France were Nuit Blanche (White Night), by Dr. Cherigie and M. Regnard, and Les Escales (Ports of Call), by Dr. Cherigie alone. In the latter the producer examines what happens when a boatload of men and women, exhausted after a long sea journey, moor their yacht in the harbor. Their candid expressions of fatigue and their lack of will to do anything but catch up on their rest evoked the praise of all. The French Equatorial Africa Club was represented by an award winner, Moi Bambi (Young Deer), filmed by Mme. Regine Le Hanaff. This Kodachrome picture portrays the reactions and delights of a week-old deer in the forest. His first inquisitive smell of flowers and his naive encounter with a skunk give the film a warm appeal. Switzerland was photographed in all her splendor by Jacques Herve, of Grenoble. Showing Switzerland in all her seasons the film is a clear visual delight. The Festival committee, by exhibiting this at the program's end, left the audience and critics in fine spirits. One of the highlights of the Festival was a film on underwater life made by Dimitri Rebikoff, of Cannes. Mr. Rebikoff, a professional illumination consultant but an amateur photographer, had designed an electronic, waterproofed lighting unit for use under water, and with it he was able to open up new depths in submarine movie making. His beautiful scenes of plant life and unusual fish photographed off the French coast provided the audience and judges with a rare, unscheduled treat. All in all, it was generally agreed that this Fifth International Amateur Film Festival, at Cannes, was easily the best thus far produced. The Festival committee's one great regret was that American amateur filming was so inadequately represented (there were only two Americanmade films entered, and neither of them placed). It is hoped that the flourishing amateur film movement in America will be more powerfully represented in 1953. Dates for the Sixth International Festival already have been announced as extending from September 5 to September 15 of that year. Besides the actual competitive screenings at the Palais des Festivals, outstanding tourist and social activities are being arranged everywhere on the Coast. To these, all members of the Amateur Cinema League are most cordially invited by the Festival committee. For further information, both about the film festival and those related activities. Movie Makers readers should address the following: The General Secretary, VI Festival International du Film Amateur de Cannes, 20 Boulevard de Lorraine, Cannes, France.