Business screen magazine (1946)

"Decision for Chemistry" is a glimpse inlo the jace uj American youth. It examines youth's curiosity, eagerness jor learning and exploration and shows yesterday' s curious youngster as today's searching scientist. we are shouing the truth on the screen, and not voicing the sentiment 'isn't Monsanto wonderful?' "We would far prefer to have other people people in our audiences — left with that impressicin. In nllu'r words, we'd rather ha\e iheni say it. than tu say it. lilatantK. ourselves. Vie are not being altruistic, not simply being 'nice guys' in doing a film of this sort. To the contrary, we have confidence that the iow-sell' quality will develop to be a harder-hitting, more effective communications medium for Monsanto than the often commercial-laden sponsored movie." A Real Mission to .\ccouiplisli It has also been pointed out that the company exercised admirable restraint in avoiding such cliches as "Chemistry is Magic!" There are no N. V. I'kevieweks il io r) uere Irwin .4. Vladimir, ad exec: John H. Briell, v.p. Reader's Digest. Intl.: Brax Pollard and Julio L'sera of .Monsanto: arut H. .4. Damalo, district manager of American Exporter Publications. scenes that say "Presto-Chango, Hokus-Pokus here comes the miracle fibre!" Decision ... is a glimpse into the face of American youth, and it examines, briefly, the curiosity of youth — the eagerness for learning, for exploration, for investigation. It hints that yesterday's curious youngsters are today's searching scientists: and that many of today's youngsters, awaiting the day when they'll receive an outlet for their energies and investigations, will be the scientists of tomorrow. This is the simple story pattern — looking at yesterday to see todav. looking at today to see tomorrow. Black and White Deemed Preferalile Decision for Chemistry was shot on black and white film. Not because (he company is against color films per se ( .Monsanto has several color films and is making more), but because it was felt lliat it would be a better picture in black and white. Better in that black and white often succeeds in establishing a definite mood or theme, as was desired in Decision .... more effectively than color. Before this film was set into production (with some 19 producers making a pilch for the job), Monsanto compiled a check list of .38 factors to be considered as the general objectives of ihr motion picture, as determined by advance planning and thinking of the management personnel concerned. A Good M.Hlrl Io, hlhn I'lannrrHere are some of them: Interest \alue: prelautiiins against a film which would become rapidly obsolete; assurance the final product would be of suflicient interest for the public, for employees, for stockholders, for recruitment and other purposes in schools; a complete enough story to give audiences a balanced enough viewpoint of Monsanto, attempting to avoid too little of tlie company's operations, and thereby be insufficient, attempting also to avoid showing too much, and thereby be too broad and superficial : a good, accurate yet not too gabby a script: good photography, editing, sound effects, music; a broad enough interest to assure some use on television, etc. That these objectives have been reached is indicated by the ovent helming response given the film thus far by Monsanto employees, civic officials in plant cities and the general press — including a tribute from the New York Times. Modern Handling National Bookiii^> It is anticipated that Decision jor Chemistry vill be seen by millions of people — through the rompanys own auspices at branches and plants and through the facilities of Modern Talkinf; Picture .Service, .\udiences will be Monsanto plant and office communities, civic and service club functions, schools and colleges, and a myriad of other typical American meetings. Three versions have been prepared — of 50. 35 and 12 .•ninute lengths. Monsanto hopes the film will serve to cast one more ray of light on the role of chemistry in this "chemical century." 9" MnNswro I'KKSS PKKMKW KKS Howard Marpi.t. .Wna»a/i/o*.t ail ami p.r. rhief (ItfO grc*-ts Jim Croue. .imerican Chemical Sofirty editnr and Margaret Inftrsoll oj (ofur .Uafazine. Florida location setup above shous (I to r) producer Paul Alley, cameraman Cliff Poland and editor Ann Blazier at Ross Allen's Reptile Institute. (Story below) F'iliii oil Florida's Silver Springs Earns Diviilenils Tliroiigli (!oop<Tutioii Sponsor: Florida's Silver Springs. Title: .'/ Day at Florida's Silver Springs. Shrine of the Water Cods. 22 min. color, produced by Paul Allev Productions. ■*■ If an advertising manager walked in to his boss and said he was planning to donate half the space on 400 twenty-four sheet billboards to publicize his competitors, most emplovers would hit the ceiling, fire the ad man. or both. Peter Schaal. advertising director for Florida's Silver Springs, did just that and not only boosted business for the famous central Florida tourist attraction but won four advertising awards for Messrs. Ray. Davidson & Ray. operators of Silver Springs, for what is now known as "Operation Bread-Upon-The-Waters." Srhaal credits much of hi. success in luring a million people to Silver Springs in 1052 to the cooperation given him in return by competing Florida attractions. Schaal's latest aiKertising exploitation is a 22-minute color motion picture in which transportation lines serving Florida are also being given a "free ride." Eastern .\irlines. Seaboard Railroad. .Atlantic Coast Line and Greyhound arc participating in distributing the film free of charge. Films for each company carry a s<'parate opening .sequence depicting a family arriving at Silver Springs by plane, train or bus. Fnd trailers show each indixidual carrier departing from the Springs, with no other advertising than a picture of the carrier. Tlie story features a Boy Scout and Girl Scout as they visit the colorful jungle country, see Seminole Indians, ride in the glass-bottom and photosub boats and view the fascinating panorama of underwater life, including an underwater ballet, a la Kslher Williams. Actually, cameraman Clifford Poland came directly from a new MGM Elsthcr William* Technicolor feature ti> handle the Silver Springs photography and caught scenes that arc almost three-dimensional in quality. Silver Springs will be relea.«ed in the fall to 16mm audiences all over the country and a shorter black and white version is Iiring prepared for television. Paul .Mley. formerly with .NBCTV, wrote the script and supervised production of this super-scenic short. (f NUMBER S • VOLUME 14