The Bioscope (Jul-Sep 1931)

30 THE BIOSCOPE August 26, 1931 Hollywood Vitalising European Studios France Reviving Under Stimulus of Competition Will British Producers Respond to U.S. Invasion ? By Wm. H. MOORING {Editor of “ The Bioscope ”) FOUR years ago if one had been asked to name the permanent capital of the motion picture kingdom one would have replied without hesitation, “ Hollywood.” But one consequence of the volcanic disturbance caused by the talk film has been a considerable geographical redrafting of the filmic domain. Just as one could never prophesy with any certainty what new form screen entertainment might take on a year — -six months — or even less — ahead, so is it impossible to-day to predict with any degree of certainty which — if any — of the existing studio centres is to claim pre-eminence in tomorrow’s world of film producing activity. Hollywood is still pre-eminent : it is still, and must for some time remain, the energising influence in the world’s motion picture industry. But it is no longer the fortress of American film monopoly. The talk film has made it something finer, something wider. It is of little importance that chance rather than altruistic aim has led Hollywood towards a destiny invested with all the romance — and perhaps a little of the sacrifice — of the pilgrim pioneers who first discovered her embryons. Having unearthed a great treasure, built up a gigantic industry, initiated almost every progressive movement in modern motion picture development. Hollywood now goes one better in the ascetical, if not in the commercial sense. After for years exposing its patterns before the eyes of imitators, Hollywood has decided to show those same bewildered imitators just " how it should be done.” That is the real significance of American participation in European film production. And Europe — France, England, Germany, Sweden, Italy — will have to cultivate receptivity or be prepared for the translation of constructive co-operation into competition. The real situation is revealed in the rapid development of American production units on the Continent. In view of the fact that not only Paramount and R.K.O., but several other major U.S. A. companies, have initiated "Six Units are Working Day and Night" “ Harry l.achman stopped poring over his “ Grand Duchess and the Waiter ” script just to show me some of the marvels of the Joinville Studios ” British production policies, the effects of a similar development in France — now in a more advanced stage — are specially interesting to observe. Not only has the Paramount Company built up since 1929 a powerful film producing unit near Paris, but the competition it has thus created in the preparation of French dialogue films has toned up the whole of the native motion picture industry there and set an entirely new pace in French film production. A corner of the Paramount Studios, Joinville, Paris. The buildings in view represent only part of one side of a quadrangular lot Trebled In Two Years ! I paid a visit recently to the Paris Joinville studios and was amazed at what I saw. Where in 1929 were two small stages there now exist six large floors, all fully occupied practically day and night in the delivery of features and shorts rendered in French, German, Spanish or Swedish dialogue. The old French chateau which with a few outbuildings constituted the original studio in the old silent days, is now a mere centrepiece to one side of a quadrangular lot which represents all that is most up-to-date in motion picture producing plant. The chateau itself is now utilised merely as a central sound recording station, to which cables are run from each of the six working stages. Occasionally it serves also as a " mansion ” exterior. Complete workshops and laboratories equipped with the latest appliances form part of a marvellous studio lay-out which is conceived with all eyes on efficiency. But of still greater significance is the impressive " crew ” of artistic and technical experts which Paramount have mobilised there. Their influence cannot fail to produce a tremendous effect on the French talent which is employed there. Under the supreme control of Robert T. Kane (sent over specially from America), who controls Paramount production acti