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tract from the achievements and ability of such brilliant pioneers as Edison. Lumiere, Dickson, Friese-Greene and the rest, but only to point out the fact that until they had film — the basic material for making their pictures — they could not progress; as soon as film was available, they could (and did) bring their ideas quickly, and relatively easily, to brilliant fruition.
Today — half a century later — we take film for granted. When technicians discuss film products, they concern themselves only with the emulsion coated on the celluloid. When most of the others in the industry think of film, they think only of the pictures captured on the emulsion. None of us gives a thought to the unobtrusive strip of celluloid which carries both emulsion and picture.
Yet in simple fact, our entire industry is founded on a strip of celluloid: a little thing, virtually unnoticed today, yet as vital in 1939 as it was in 1889. for in more than half a century of scientific research, the world has failed to find a satisfactory substitute for — film.
"Vyr E hear a great deal today about ” the vast, and largely untapped potentialities of the Latin-American market, particularly South America, and of the importance of getting a better understanding of the entertainment tastes of our southern neighbors so that we can make pictures that will please them.
During this last month, Hollywood has had a unique opportunity to gain truly first-hand information on this point. Donald Gledhill, the energetic Secretary of the Southern California Film Society, took the trouble of
bringing to Hollywood tangible proof of what filmgoers in one of South America’s greatest nations — the Argentine Republic — like. On July twentyfirst, twenty-second and twenty-third he gave Hollywood the privilege of viewing two of the latest and most successful Argentine-made features, “ Alas de mi Patria” and “ Puerto Cerrada ,” both produced by Argentina Sono-Film, of Buenos Aires.
To many of us here whose knowledge of Spanish America is bounded by the southern borders of Tiajuana and Agua Caliente, or perhaps Ensenada, these films should be eye-openers. They reveal a cultured people, far removed indeed from the serape-wrapped peon of fiction, and a sober, purposeful outlook even farther removed from the fandangoes and rhumbas of our so-called “latinized" music-films. Above all, they showed human beings who live, love and meet problems quite as any North American or European might.
From the more technical viewpoint, either of these films would be a credit to any nation with a film industry less completely established than Hollywood’s. To a certain extent they inevitably show that their producer did not have Hollywood's lavish technical and other resources to draw upon, but in the whole, they compare most favorably with the standards set in most of Hollywood’s independent productions and in some respects even with many major-studio program films. In each of the productions, the acting talent shown in the stellar roles would be an asset to any of our major productions.
Photographically, both productions are praiseworthy. The many excellent
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