The Cine Technician (1938-1939)

July-August. 1939 T HE C I N E T E C H N I C J A N .V.i FILMS WITH A PURPOSE •CONFESSIONS OF A NAZI SPY" MANY years ago Hollywood, in the Spencer Tracy film, "The Power and the Glory," experimented in what is called "narratage ," and since then many people must have thought that the use of a semi-newsreel technique might he a useful and economical way of giving continuity in a fiction story. And now at last, in "Confessions of a Nazi Spy," the Warner Bros.' hardhitting exposure of the German spy racket in America, such a technique has been applied with admirable results. J think it is fair to say that the success of the March of Time reels has had something to do with the adoption of this method. Their style of rapid and concise narration is admirably suited to giving the background to such a story. This innovation would make "Confessions of a Nazi Spy" technically interesting but nothing more. But for trade unionists and all democrats the film has a significance which goes far beyond technical experiment. At last we see a film which has a definite point of view and dares to express in a way which some of us have despaired of ever seeing, what thousands and millions of people are actually thinking outside the cinemas. It is this which makes "Confessions of a Nazi Spy" one of the outstanding events in the history of the screen. I can only hope that it will be the forerunner of many more films which will have an adult point of view and not be afraid to lace up to the accusation of embarking on controversial subjects. (As we go to press, news comes from Hollywood that "Confessions" is to lie followed by a film about the German clergyman Martin Niemoller, who has been in a concentration camp for two years on a charge that amounts to refusing to substitute Hitler lor God). S.C. "JUAREZ" THE Metropolitan Motion Picture Council of New York inform us that they have decided to sponsor "Juarez," to be seen in London shortly. They urge all individuals and organisation interested in improving motion pictures to support this film. This follows the Council's recent policy announcement to stimulate substantial support of worthwhile films at the box-office through special campaigns for a few sponsored pictures each year. The Council plumps lor "Juarez," because "it presents the case lor democracy powerfully and in dramatic form." The film, starring Paul Muni. Bette Davis, and Brian Aherne. is, the Council continues, "good entertainment, hut it also embodies a strong plea for tolerance, for liberty and for the very fundamentals of American democracy without resorting to the cheap emotionalism of flag-waving." The writer read all this before going to the trade show. He was disappointed. The film is undoubtedly good entertainment, but its message is about as confused as the minds of many present day supporters of democracy. Unfortunately, perhaps, for my reactions to "Juarez," I saw "Professor Mamlock" at the Film Soc iety a short time previously. The first film got through the B.B.F.C., the second didn't. And that sums up the dif ference between the value of the two films ! Any film co-starring Paid Muni and Bette Davis is worth seeing, even if, as in "Juarez," they never appear in the same scene together. Technically, too, A.C.T. members will want to see the film, the first photographed on the new Eastman Plus X negative. Hut if you want a film with a message, stick to "Professor Mamlock" or ''Confessions of a Xazi Spy." If. however, you want to see a good film, and messages one way or the other are of no great concern, then you can still see "Juarez" not only without disappointment but most likely with great appreciation. G.H.E. "PROFESSOR MAMLOCK" IT is difficult to write soberly about "Professor Mamlock" because it is the kind of film that starts where "Confessions of a Sazi Spy" leaves off. No greater tribute could be paid to "Mamlock" than that it has been banned by the British Board of Film Censors, and what other decision could be expected from those aged gentlemen so lacking in culture, imagination and sense of civil decency'.' "Mamlock" raises the cinema to its proper status — the status of an art form capable of interpreting the greatest events of contemporary history, truthfully, objectively and with a profound emotional appeal. "Mamlock" is the real story of Germany today. I say the real story because it is not just the racial persecutions, the tenor and the war preparation, but the ceaseless underground fight of millions of ordinary decent German men and women against Fascism. And that is something that "Confessions" forgot. The story of the film takes in a wide cross-section of the German scene. The chief character is Mamlock, a brilliant surgeon, a Jew, a liberal in thought, but resenting his son's Communist activities. In short, a very recognisable type of scientist who is "above the battle" in politics. W hen the Nazis seize power, Mamlock is removed from his position in the hospital and dragged through the streets with the word "Jude" painted on his coat. 'Ibis sequence alone will live long in the memory of those who have seen it. The full horror and bestiality of the Nazi racial policy has never been more movingly demonstrated than in this episode of the dignified man of science being dragged along by Nazi toughs drawn from the dregs of the city. As soon as Hitler seizes power the Socialists, Communists, Trade Unionists and other opponents of the regime go underground to continue the struggle, and much of the film is devoted to their methods, full of courage and daring. Leaflets are scattered from roof-tops, pamphlets and books are printed on secret presses, imprisoned leaders rescued from gaol. In all the work Mamlock's son is prominent, but eventually he is trapped by the police outside the hospital where his father lies, broken in health. The streets are lined with armed storm troopers, but the silent crowds of people open up to allow the boy through and immediately (dose again. The storm (Continued on page .s.s)