Canadian Film Weekly (Jan 16, 1946)

Page 22 Canadian FILM WEEKLY January 16, 1946 Future of Motion Pictures ATE in 1945, postwar devel opment of motion pictures was still in the planning stage, except for immediate developments based on previous trends; technically, the film had reached a perfection which made improvements in sound or image unnoticed except by the experts. Expansion of previous programs —in the 16 mm. field, in the use of color, and in the application of film techniques to educational and training needs — provided the most immediate fields for postwar progress, Looking ahead, there was still talk of the day when new photographic and projection developments might turn the “flat actors’ of the screen into “round actors;” the coming of television on a large scale was awaited with interest, although most executives felt it would be a boon rather than a harm to screen entertainment. On the creative side, 1945 trends followed along lines previously developed: there was a greater emphasis than ever on obtaining better screen material, old sources of material were being expanded, and wider fields were being explored. During the war, the motion picture program of the armed forces carried screen entertainment wherever fighting men were assigned. At bases and leave New Sales Record Climbing steadily over a yearand-a-half, Ayn Rand’s novel, “The Fountainhead,” recently sold to Warner Brothers for screening in the near future, has exceeded 500,000 sales and a new edition is now being printed. Honor Montrealers For Army Shows Executives of three Montreal amusement chains received messages of appreciation last week “for providing free entertainment in generous volume to men and women of the active service forces during the past five years,” from Hon. James J. McCann, Minister of National War Services, and Leonard W. Townsend, president of the Montreal War Services Co-Ordinating Council. This appieciation was expressed to Arthur Hirsch, president of Consolidated Theatres, Ltd.; George Ganetakos, president of United Amusements Corp. Ltd.; and Gordon Dann, president of General Theatres (Quebec) Ltd. Consolidated Theatres is continuing to issue group passes to service personnel who may be in Montreal awaiting train connections. Prepared as a guide for Loew’s Theatre managers on public relations and motion picture exploitation by Dan S. Terrell of Loew’s Theatre head office, this article is of general interest centres, the conventional 35 mm. films in regular theatres were the source of entertainment. In the field, close to the front lines, portable 16 mm. equipment provided the latest Hollywood product even before it was released in the United States. Hundreds of prints were donated by the industry; returning soldiers still find they are way ahead of civilian friends in movie fare. AS a result of the pronounced success of the half-size film, several companies are actively developing this field, to take entertainment to remote sections not serviced by the customary theatres. The armed forces utilized the film extensively for training purposes. From the first drill of awkward rookies to the intricate training in special weapons and methods, films provided a graphic educational method that reduced by days the time necessary to grasp new ideas and techniques. As a result, a near revolution in education and industrial training is expected. Wartime films also provided the most effective method of informing the home front, not only on progress of the war but on cooperation needed in salvage, economy and bond drives. As the studios of Hollywood turned to normal production, and theatres all over the nation returned to show business after making an outstanding contribution to every government drive of the war period, the screen began to glow in rainbow hues. Prospect was that the black and white film was on its way to becoming as obsolete as silent film, and only ‘the shortage of facilities limited the number of features made in color. The dominant process, Technicolor, was booked solidly through 1948, according to an announcement, while almost every studio was seeking new methods to increase its color film schedules. At the year’s end, the U.S. government was sending a technical mission ta Germany to seek full information on a Nazi-developed color process said to provide amazing hues. Immediately on the horizon was the development of television, still limited by technical problems of transmission and by the smal] number of receivers in use. Hollywood was very much interested, and film leaders recalled the early days of radio to seek a parallel. Development of wireless had an adverse effect on movie attendance during a short period; now it is an adjunct of the film industry in many ways, providing much of radio’s talent, utilizing radio talent for its own medium, and considered a potent source of advertising results. Television would be little different. For one thing, much of that new art would be based on films, particularly in the earlier years. Broadcast of film ‘“‘television” reels already was taking place and the prospect was that it would increase. Use of film solves many of the production and transmission problems, produces a good quality image. Television might also be brought into the film theatre, augmenting the present-day newsreel with which it would be an early competitor. Against the eventual development of fullscale, successful original television entertainment, the movie industry placed the fundamental gregarious urge of the human race — the desire of men and women to enjoy entertainment in company with their fellows, instead of in isolated fireside groups. The technique of adding a third dimension to the screen still seemed remote. Development had been made, as a greater illusion of depth was created, but actual appearance of a third dimension still was a trick involving special images viewed through glasses. On the creative side, Hollywood was embarked on new ventures in obtaining the source material for screen plays. In the legitimate theatre, it has long been customary to take new plays “on the road,” to test audience response before bringing them to New York, the theatrical centre of the world. The movies took this one step farther: heavy investments were made in stage productions, to see if stories and casts succeeded in New York. If they did, Hollywood put them into film versions for the rest of the nation. In addition to investing in plays, the movies were doing all they could to develop writing talent. One company (MetroGoldwyn-Mayer) offered a yearly $250,000 award for the best novel. New books were being purchased for fabulous sums bex fore the ink was dry. Screen writers themselves were receiving ever increasing attention, and Hollywood seemed well * into an era, when — with its technical problems largely solved —it was more and more concentrating on content. Wider fields than ever were being explored. While the atom bomb had been the subject of war drama, serious exploration of the whole subject of atomic energy was subject matter for two productions, each by a notable studio. Each was being undertaken, as 1946 began, with full approval of the White House. The future of the motion picture seemed clear — a continuing development along lines which had won public interest and approval. More than ever, audiences seemed assured of quality entertainment. There was no question but that over the years, Hollywood — often criticized, often acknowledging its own mistakes — had forged ahead, raising public taste to new levels. It is an industry axiom that no man ever sets out to make a bad picture; as 1946 began, Hollywood expected to make more good pictures than ever before. Kalmenson Signs Five-Year Pact Ben Kalmenson, recently made vice-president of Warner Brothers, has signed a five-year contract as general sales manager for the company. Kalmenson has held the post since 1941. He started in business as salesman for First National in Pittsburgh in 1927. Slim Summerville Dies in Hollywood George J. “Slim” Summerville, 50, a top movie comedian since the days of the Keystone Kops, died at his Hollywood home this week after two strokes. Born in Albuquerque, New Mexico, Summerville left home while barely in his teens and rode the rods through Canada and the United States seeking work. When he landed in California he also landed a career— as a gangling kid cop in the early Mack Sennett comedies. His most important role was that of Tjaden in “All Quiet on the Western Front.” He recently was co-starred in a comedy series with Zasu Pitts. He is survived by his wife.