The Bioscope (Jul-Sep 1931)

24th YEAR. SUBSCRIPTION : Home 10/6 per annum. Abroad 30/ per annum. The Independent Film Trade Paper (FOUNDED BY JOHN CABOURN) Faraday House, 8-10, Charing Cross Road, London, W.C. 2. Telephone : Temple Bar 7921, 7922. Telegrams.: “Gainsaid, W estrand London.” No. 1304. Vol. LXXXVIII. SEPTEMBER 30th, 1931 PRICE 6d. In Brief A SPECIAL Governmental Committee will, the “ Bioscope ” understands , he appointed to examine the question of American competition in Britain, in connection with films, radio and television. Page 17 THE Sunday Performances ( Temporary Regulation) Bill to legalise Sunday entertainments for the time being was read for the first time in the House of Commons yesterday . Page 17 S. L. ROTHAFEL (“ Roxy ”) sailed last week for Europe with a party of technicians to seek ideas for the mammoth Radio City now being built in New York and which he will control. Page 16 WM. M. SEABURY, former Counsel General of the American Motion Picture Board of Trade, tells the “ Bioscope ” that he deplores the American monopoly of the film industry. Page 16 GAUMONT-BRITISH will not pay more for American films, Mark Ostrer told shareholders at Monday’s annual meeting. Page 33 Which Caucus? For some time past we have been aware of political moves to arrange an official inquiry into the effect of American competition and financial manipulation upon the film industry of Britain. But for the precipitation of more immediate problems it is probable that “ conversations ” between influential figures in the political game would have reached fruition before this. The Trade, in common with others, is still quivering with doubt as to the effect of going off the Gold Standard ; next it may well be that apart from new Budget Taxation, film people will begin to wonder what is going to happen to their Living Standard. The very real fascination exercised by films and cinemas over all humanity does not permit the politicians — inhuman as they can be — any escape. They are busy now with a scheme to restrict foreign operations within or affecting the British film industry. Both culture and cash are, they believe, at stake. The operation of the Quota (mildly successful as it has proved) has revealed how difficult is the task of applying Protective legislation to an industry such as ours without imposing hardships on those least able to bear them. It is the public and the small man supplying the public who must pay — always pay. Restrictive influences, whether wielded by a British Government Department or by a group of powerful foreign speculators, offer terrifying consequences for the small trader who has been taught to regard business as a reasonably straightforward undertaking with a great deal of service and self-sacrifice, a few complications, but no intrigues. Just whether he would prefer to die by the Westminster mill or the New York steam roller he might have difficulty in answering. And so long as he mistakes disorganisation for independence he is not likely to be asked. INDEPENDENT manufacturers of * sound equipment in Germany are uniting to fight the monopoly of TobisKlangfilm in the talkie field. Page 17 jP' DGAR Wallace has signed to write original screen stories for Radio Pictures, and leaves for Hollywood in November. Page 16 A RESOLUTION pointing out the ** exceptionally high duty payable on cheap seats under the new Entertainments Tax proposals has been forwarded to Mr. Snowden by the P .E.P ,M .A. Page 17 I AT ALL Street has given Hollywood ' ' time in which to readjust its spending values, says John Dee. Page 18 D UMOURS that the Broadhead circuit * *■ of Lancashire theatres had been acquired by Harry Buxton are denied by Percy Broadhead. Page 16 British Producers Say “Truly Rural” British pictures, like the British people and the Pound, have their ups and downs. The past week has found them on the rising slopes of prestige. There are two main reasons and two useful lessons, if British producers care to scrutinise them. “ Hindle Wakes ” and “ The Ghost Train,” as unlike as cat and dog, each pulsate with robust (though colloquial) English dialogue, and sparkle with authentic English backgrounds. The British producer has often betrayed that intoxication induced by West End thinking had robbed him of the power to say “ Truly Rural.” And it is from the country that his bulk returns are drawn. Gaumont with "Hindle” and B.I.P. with "Hobson’s Choice” will warm the heart of provincial picturegoers, already nauseated by the froth of bright young Oxfordianly — perfect actors, for whom thev have invented an amusing name and a special form of " applause.” Country exhibitors will appreciate the change equally with the public, which brings us to the “ second lesson.” A British picture may be good without becoming a masterpiece ; it may shine without representing a gold mine. British producers must bury the old idea that a good British film is worth nearly double as much to the exhibitors as a good American one. In the long run it will pay them better to start evens with the American : the race is all the more likely to be Britain’s.