American cinematographer (Jan-Dec 1946)

REVIEW OF THE FILM NEWS V/yV^VvNAWvVAV^VWAVvNVAAV/AiVV'^^^/^V^W^^^^WAAAAAAAAAAAAAAAAAAAAAAAAAAAA/ MOST important news of the past month was the formation of United World Pictures by Inter¬ national (Leo Spitz and William Goetz), Universal, and British film tycoon J. Arthur Rank. Deal has potentialities of lifting Universal to position among the top major companies of the business; and — at this point — looks like a longrange association of the three partici¬ pants for very interesting future ex¬ pansion and progress. Stripping the formal announcement of the formation to essential facts: United World Pictures will tie in closely with Rank’s present and future theatre in¬ terests in Great Britain, Canada, Aus¬ tralia, France, India, and other countries to give substantial bookings of company releases on a world-wide scale. If even¬ tually necessary to insure playdates and proper showcasing of product in the United States, theatres in key cities may likely be either acquired or con¬ structed. But, from Universal’s record of the past five years, and Interna¬ tional’s healthy key runs generally since its formation two years ago, there seems little need of American theatre tieups to insure outlet of future productions. Spitz-Goetz’ International Pictures, Inc., which has been producing four top features annually for RKO release, be¬ comes inactive; and new International Pictures Corp. is being formed to carry on, with joint ownership of Spitz-Goetz and Universal. New International will produce minimum of eight productions annually; while Rank’s British pro¬ ducing units will also contribute the same number of pictures for world re¬ lease. Added product goes through Uni¬ versal exchanges in the United States and most of the foreign countries. Eventual Universal Control? Although it was definitely stated that at this time there would be no sale of any stock interest in Universal to either Rank or Spitz-Goetz, some trade ob¬ servers figure that such a move might eventuate in the near or distant future. Rank already holds a 25% interest in Universal through acquisition of Gen¬ eral Film Distributors of England. Lat¬ ter originally participated in the origi¬ nal financing setup which bought Uni¬ versal from the late Carl Laemmle, sr., for around $8,000,000 in 1936. If, as might be possible, other financial inter¬ ests holding large blocks of Universal stock might sell in the next year or so, there is no question but what SpitzGoetz would pick up such offerings to combine with Rank for operating con¬ trol of the company. Universal’s First Combo It is interesting to note that this is the first time that Universal has par¬ ticipated in an amalgamation of any sort in its long and colorful career. Origi¬ nally launched by Laemmle around 1910, it kept independent through a 35 year career for two records — (1) the oldest continuing company, and (2) never an amalgamation despite the tough going at many points. But the present asso¬ ciation with Goetz-Spitz and Rank has many advantages for old U ; bringing in plenty of executive and production manpower, talent, strong theatre affilia¬ tions world-wide, and top box office talent in the star, director, producer and writer fields. That’s why these ac¬ quisitions carry potentialities of lifting the Universal structure up among Metro-Goldwyn-Mayer, Paramount, Warners and 20th Century-Fox, within a reasonable time. Watch Goetz Although, on the surface, it would appear that Rank, with his global theatre holdings and financial control of British film producing units, would be the major factor in the United World setup, the key executive appears to be Goetz. The latter has made solid prog¬ ress in the past 12 years; generating loyalty and enthusiasm of talent and production personnel so necessary for the successful production of motion pic¬ tures. Besides his personal abilities, Goetz has the sage advice and counsel of Louis B. Mayer, which cannot be discounted. When it is recalled that Mayer took two unprofitable studios — Metro and Goldwyn — and quickly welded together the greatest producing organi¬ zation of the industry; his guidance of Goetz’ activities is invaluable in numer¬ ous ways. Television Progress The more plans for general television broadcasts develop, the closer the new medium veers away from the radio in¬ dustry into closest contact with motion pictures. Utilization of motion pictures for general television broadcasts rather than live action, seems to be growing in general acceptance within the inner councils of television. During the past few weeks, both Paramount and Disney on the Pacific Coast have applied for television transmitter permits. Paramount, with a large interest in DuMont, is probing a new angle on theatre broadcasts of current events of national interest. Paul Raiburn, an executive assistant to Paramount presi¬ dent Barney Balaban, has been explor¬ ing the possibilities of televising a na¬ tional event into the large theatres of the company’s circuit; with the receiving houses having camera setup whereby film could be made of the television broadcast and the exposed film quickly developed in a compact tank for pro¬ jection on the theatre screen as soon as the main feature or other attraction is completed. The idea has possibilities, as it would overcome the difficulty of a theatre requiring to stop a feature in the middle in order to directly televise an important happening directly onto the screen. According to information at hand, Paramount’s television channel would broadcast the picture via a nega¬ tive image, so that take-off film in the theatre would be a positive and not require additional step of printing. Disney, in applying for television sta¬ tions in Los Angeles, San Francisco and San Diego, figures on a long-range proposition which would eventually hook the trio together via coaxial cable or some other means. The cartoon pi’oducer is figuring on production of films for television broadcasts — with both car¬ toons and live action — and apparently expects the three coast tele stations to become showcases for his product made for television advertisers. 20mm. for Theatres For many years, the large producerdistributor companies have ignored the use of 16 mm. release prints for the¬ atrical showings in both this country and abroad. However, the successful Army and Navy circuits entertaining personnel at and behind the far-flung battlefronts, proved to the film officials that the miniature films held great po¬ tentialities for theatrical use, especially to expand distribution in the foreign markets where heretofore many smaller communities did not have the power fa¬ cilities, or could not support, the regu¬ lation 35 mm. size. Major companies, with Loew’s Inter¬ national (Metro-Goldwyn-Mayer) in the lead, are planning immediate availabil¬ ity of 16 mm. prints of entertainment features for widespread expansion of showing abroad — Central and South America, Africa, the Near East, and Asia. In the United States, the distributors have shied away from making the 16 mm. prints available for release. Basic reason for this attitude is fear that such prints would have to be booked to non¬ theatrical accounts, with resultant vig¬ orous complaints from the regular ex¬ hibitors that competition from the schools, churches, and other locations not classed as theatres, would be detri¬ mental to the regularly-operated showhouses. But the film companies, recognizing the potentialities of expanding distribu (Continued on Page 34) 14 January, 1946 • American Cinematographer