The Bioscope (Jul-Sep 1931)

20 THE BIOSCOPE August 12, 1931 TALK OF THE TRADE Where Exhibitors Smile at Sunshine !— Poverty Row on the Riviera !— Congrats, Hatfield— J.M.’s Big Nest Egg— Double-edged C.E.A. Resolution— Not Doomsday Yet! Faraday House, Where Sun Shines August 12, 1931 — And Exhibitors Smile Just back from a brief run across France I find Wardour Street, Charing Cross Road and the London weather all equalh^ dull and uninspiring. However, what is one man’s meat is another’s poison, and the exhibitors I met this week are all more or less delighted with the lachrymosity of the heavens. Away in the South of France — Juan Les Pins, Nice, Monte Carlo, Marseilles — four months of constantly brilliant sunshine was broken the day after I left by one short sharp shower, and now the37 have summer all over again. What a land for exhibitors to live in. And still they do live, smiling at visitors like myself through their masks of deep sun tan. and quite uncomplainingly offering one a choice of any of their seats except the half dozen in the 3-franc rows, which happen to be already occupied ! Cannot think how some of these exhibitors pay their rates nor how much they enjoy making their returns to the renters for the sake of the percentage split. French Programmes Behind the Times French cinema programmes — Paris excepted—-are a good deal inferior to those demanded by British audiences, and many of the supporting films now showing there were played out in this country at least a year or two ago. The best cinema business I struck was in Antibes and Juan Les Pins, where a French version of Chevalier’s " Big Pond ” and a synchronised rendering of First National’s “ No, No, Nanette,” were among the current subjects. The former was billed at the Cinema D’Ete, Juan Les Pins — one of several open-air theatres I struck along the Riviera. Open Air Cinemas Boom on the Riviera These places seem to do the only real picture business there is to be done in the South : they appear to be nearly always from half to three-quarters full, and sell at from 3 to 15 frs. a seat. At the latter price one gets a comfortable cane seat with a table for drinks, and, of course, the merry old refreshment game goes on without interruption all through the show. At the Cinema D’Ete, Western Electric apparatus is installed, and both projection and sound are tip top. The effect of the music and dialogue on the passing public is distinctly interesting to observe. Many pause, loiter and then pass on, but scores are evidently intrigued to the point of parting with their money, and after halting with cocked ears make a pocket dive for a few francs. Continental Theatre Worth Studying The only ordinary theatre which I discovered reasonably filled was at Antibes — the Theatre Antipolis, controlled by C. Renoir, son of the well-known French painter. I use the word " ordinary ” with qualifications, for in reality the Antipolis is a magnificent new stone structure inspired by the present Germanic vogue for exterior severity and massiveness. The interior, decorated most frugally in red and grey, is almost entirely of stone and stippled plaster work, the line being utilised deliberately as a means of creating an atmosphere of spaciousness and coolness. The ceiling provides a wonderful example of " open top ” effect, and this theatre might well serve to ” inspire ” one or other of the many British theatre-owners who now seem to favour the South of France as a spot for vacationing. Our PovertyStricken Industry This season I found little escape there from the atmosphere of the film trade, among the visitors during my short stay being J. E. Otterson, of Western Electric, Gloria Swaason, Maurice Chevalier, Phil Hyams, Alec Saville and Harry Woolfe. Others had either just left when I arrived or were expected as I left. Hard times we live in. So hard, in fact, that the poor of our great industry (myself included) have to change their few Bradburys into French currency to make the wad look more ! Well Done, Hatfield ! Congratulations to the new Western Electric chief, R. M. Hatfield ; he has availed himself of my advice tendered in a semi-humorous spirit on Julv 15th. When on that date I attended a Press reception to welcome Mr. Hatfield to this country I said, “ I feel sure he is going to be very popular in London trade circles, and if I may make such a suggestion, I would assure Mr. Hatfield that he would be hailed by W.E. theatre owners as a gift from the American gods if he would commemorate his arrival here by announcing an early revision in Western Electric service charges.” This week that announcement arrived, and although T am aware that in certain quarters it has been received much as the average taximan receives the usual tip, I feel sure that the majority of Western Electric exhibitors will feel thankful for small mercies and hope for further reductions when Mr. Hatfield desires to make some other little celebration. New Era’s Hard Luck The annual report of the New Era National Pictures makes depressing reading, and I can imagine that Sir Gordon Craig and his co-directors will have to face criticism at the shareholders’ meeting on Friday. Company losses invariably arouse the wrath of the investor, who is rarely able to take more than a superficial view of plain figures in black and white. Those who know the circumstances which have surrounded Sir Gordon Craig will, at any rate, view the situation with a little more human understanding, in spite of natural sensations of disappointment. Clearly the report provides an illustration that the day of the Independent is over. New Era have, according to the report, been practically unable to secure suitable material for distribution, they have never possessed studios of their own, and have therefore had to make the best of such facilities as they could afford to hire. Caught in the maelstrom of the " talkies,” with no theatre affiliations and no great production reserves, they have — to put it in plain language — been up against it. Although questions of personal qualifications may, to some extent, enter into the matter, it is probable that a superman would have been unable to make a complete success of a company such as this — in the absence of a guaranteed outlet for product a' d unlimited money to make it with ! The Value of the Combine If any proof were needed of the advantages enjoyed by the film triune, a vivid illustration is provided by the accounts of B.I.P. and Associated British Cinemas, upon which John Maxwell and his co-directors are to be heartily congratulated. These companies have made a joint increase during the year ended March last of just over £265,000, which, in view of the widespread industrial depression, is nothing short of amazing. The confidence which this report will create, not only among the investing public but among picture goers generally, cannot fail to react to the benefit of the British motion picture business generally, for when one speaks of British films, one speaks principally of British International, and vice versa. It is possible that shareholders who are inclined to be guided by the adage that “ a bird in the hand is worth two in the bush ” will wonder why they are not receiving more than the 8 per cent, which equals the dividend paid them last year. The more shrewd amongst them, however, will read in between the lines and will see that the huge sums which John Maxwell and his co-directors have decided to place to reserve are being held for some very wise purpose. J.M. Planning For the Future After paying the dividend now declared, British International will have a General Reserve Fund of no less than £300,000, in addition to an Investment Depreciation Reserve of £30,000 and a Property Depreciation Reserve of £50,000. A.B.C. also are building up terrific reserves, which one may safely assume will be used in the near future to increase the size and power of this important circuit. Taking a retrospective glance over the progress of various British companies since the Quota boom of 1927, one is bound to admit that the generalship of John Maxwell has provided the most striking example of success in the history of the trade, for in little over four short years Elstree has been made preeminent as a centre of British film production, and Associated British Cinemas have extended their interests to the furthest comers of Great Britain, while the British and Overseas Departments of Wardour Films, under the control of Arthur Dent, have twice outgrown their premises. When one is asked whether Britain has any outstanding figures comparable to the Laskys, the Foxs, the Schenks and the Laemmles of Hollywood, the name of John Maxwell springs instantly to mind. Perhaps some day the British industry will boast others. Meantime Rescind that Resolution Or ... ! A few weeks ago The Bioscope was approached by an advertising agent who asked to be quoted for an advertisement for cinema stage engagements for a certain well-known person who, a few years back, figured in a sensational court case and who later wrote his reminiscences of prison life. Respecting a Standing Resolution in the minutes of the C.E.A. which holds that no film featuring a person or persons who have attracted publicity of a certain kind shall