The Cine Technician (1939)

<s T 11 E C I N E-TEC II N I CIA N April-May, 1937 Harry Stradling comments on British Film Production Without Fear or Favour Having worked for the past eight months with one of the leading British film companies, I am now in the position to form impressions concerning the manner in which films are produced in England. These impressions, for what they are worth, are mainly favourable, but there are undoubtedly some depressions as well. As I trust that these depressions are rapidly passing away from the British Isles, I will attempt to describe them while they are still with us. A few months back when British studios were running at capacity there appeared to be a lack of studio electricians. I have found on many occasions electricians highly proficient in their own line but with no knowledge of studio technique working on the set. The result is that they have to be instructed while the film is in the process of being made, and this holds up production. Would it not be feasible to put them through a two or three weeks' course before allowing them on the set ? Although this is out of my line, I have noticed that a picture is put into production before the scenario is properly finished. It is very praiseworthy to be optimistic and to say that everything will be all right in the end, but why not ensure this happy result by more preliminary preparation ? It is obvious that an extra week or so spent in preparation when overhead costs are comparatively low is better than a week of revision during the course of production when the overhead is extremely lofty. In these days of talking pictures, a great deal of the pep, punch and vitality of the film depends on the dialogue. The dialogue should be bright, crisp and witty. It should be up and on its toes instead of dragging round flat-footed. The words should come trippingly off the tongue as slick as quicksilver. Those of you who have seen "The Thin Man" and "It Happened One Night" will understand what I mean. Take the sparkle out of the dialogue and remove the absurd little situations or hokum and what have you ? Now, I am convinced that British films need not suffer from their present standard of dialogue. You have the writers with the necessary talent. I do suggest, however, that specialists, such as gag-men, should be available. Referring one moment to the artistes, there is one point as a cameraman, that affects me. An experienced film actor understands his lighting. He knows that he must not wander outside the radius of the lighting that has been prepared for him and that he must not infringe on the lighting that has been prepared for other actors on the scene. This knowledge is part of his technique and he takes pains to acquire it. Miss Dietrich, with whom I have recently been working, has this knowledge of lighting to pei lection. She knows instinctively where to move and wluie to stop in order to catch the lighting to the besl effect. This, of course, is of immense help to the cameraman. In England you will find, with very few exceptions, that the artiste has not acquired this knowledge and does not sufficiently appreciate the assistance which the cameraman can gi\ e. And now I have finished discussing the depressions. It is possible that many people will disagree with my criticism and it 1- equally possible that I may be wrong. Photograph l>y courtesy of London Film /'/ Cameraman Harry Stradling and Director Jacques Feyder on a location set in the grounds of Denham Studios. but it is given in the most friendly spirit and with a sincere desire to be helpful. Let us turn to the bright side of the picture. In my opinion, British photograph}' compares very favourably indeed with the American product. There are a number of British cameramen whom I could mention who are the equal of any of their opposite numbers in Hollywood. The camera crews, also, are excellent. There is one young lad I have in mind, still in his teens, who is the best that I have ever had working for me. I have nothing but praise for the equipment. Perhaps I should award the fullest number of good marks to the laboratories. They are excellent. Their organisation is beyond reproach and the staff one hundred per cent, competent.* Recently, while working on the "Knight Without Armour" picture, I have had to -hoot under all conditions * Technicians will be interested to know tint "Knight Without Armour" was processed at Olympii Kine.