The Cine Technician (1938-1939)

July-August, 1939 THE CINE-TECH N I C I A N tives who have dared to do otherwise. Details are given of the trade paper which influences technicians to advertise by stating that however good their work it will not be mentioned unless they do so. One of the best anecdotes told is that of a wellknown premiere theatre which has two microphones — a live one for the current stars and a dead mike tor the falling ones who still fancy such little amenities. A temporary technical breakdown is the alibi if there ever should be a kick-back. The other chapters present a picture of the world in varying aspects written with the gusto generally associated with American journalists. "The British Way" is a vivid contribution, and will cause deep thought to all hut too squeamish Englishmen, while "The Case that Shook the World" gives in the best chapter in the hook a most brilliant analysis of that grave miscarriage of justice, the Sacco and Vanzetti case. We could do with more of the good, straight, honest, hard-hitting typified in this hook. Not only in literature hut on the screen. Nugent and Churchill will tell you how, regretfully, there is little chance of getting it as tar as the latter is concerned. "Still heedful about the penalties of being offensive, pictures are not deal honestly with industrial or political themes .... I returned from Bedlam marvelling at its skill, amazed at its resources, more than ever certain that Hollywood has everything hut courage ... It remains the only lasting mythical kingdom of the modern world."' 0. H. ELY IN Talking Pictures, how they an made, how to appreciate thou, by Barrett C. Kiesling. E. & F. N. Spon Ltd. 8/0. This hook starts off under a disadvantage, in as much as it is written (or was) by the head of a "certain company's publicity department." Apart from that and one or two other factors, this is an interesting hook, although the reader will probably feel that he is being persuaded, against his better judgment, to "Buy Hollywood," lor never have I read such a plausible "boost" story before. Mr. Kiesling's language is inclined to become flowery at times, hut alter all we are educated up to the standard of a certain travelogue series, so this language is not too strange. The hook is full of good and interesting illustrations (Metro-Goldwyn-Mayer and is a very thorough survey of the Talking Film as a business and as an art. For your information: "A photoplay is a mosaic of many different arts and vocations, to he exact, 'J7(')" (which, according to Mr. Kiesling's appendix, includes: — Aviator. Baker, Captain of Sailing and Steam Ship, Butcher, Charwoman, Company Manager, Dentist, Dietitian, Dishwasher. Farmer, Gardener, Lawyer, Pedicurist, Soda Fountain Operator, Tractor Operator. Potwashers, and a most comprehensive list of others). Further, "Today, although the screen is less than .">(> years old, it has practically completed the process of purging itself of those insincere persons who saw in it onh a quick way to easily gained money." But the author doesn't state whether this includes (ireat Britain. Alibi : "When searching for reasons why the studios change stories, another important element enters. It should he kept in mind that the screen has voluntarily bound itself to complete internal self-regulation of moral and aesthetic factors." He is at least most polite about ( Sensor ship. Here is an insinuation that Shakespeare was wasting his time. "Borneo and Juliet is painted on too broad a canvas for efficient stage use.'' Dear Old Bill was just a little premature, though 1 can't help feeling that he had a notion that "LEO" was coming. In defence of why the story is changed he states, "Too many people criticise a motion picture without complete data. J I ley may know the novel and the stage-play, out far too many U0 not know the photo-play. itiey do not understand why and how it dittos from the novel and the stage-play, 'inereiore, to those familiar with the screen, the pnoio-play criticism of uninformed people seems absurd." So what! Either it is the same or it is different — at least that is my opinion. "The studios are to he commended, for they have not been provincial or narrow in their story search. '1 hey have taken prodigally from the greatest literature of an the world and all time." Do you suppose he is being ironical '.' "Every story is a dream which some clever man or woman draws from his imagination and puts on paper. 'I he 'story scouts' of a big modern motion picture studio might vcr\ well be called 'dream hunters.' tor they roam all over the world searching for stories." What 1 want to know is, who then is it that finds some of these bad dreams that w e see ? And in conclusion: "Hollywood depends upon stories. No studio could continue its work without ample and varied supply of stories from which to draw. These, the results of man's most fanciful dreams and most inspired visions, must he discovered and adjusted to the need of the studios. Dreams! Remember that word. In a sense novels are merely some man's dreams, put into written words. Plays are dreams transformed into actors walking to and fro across the physical sta^'e of a theatre." (Did you ever see a dream walking'.') ".Motion pictures are dreams transmitted to a metalised screen" (I'll have you know the screen is fabric, sir) "there to be seen h\ more millions than can he reached by almost any other means of communication. All phases of literary art are closely linked with dreams which spring up like the Phoenix in the mind of some man or woman. All stories are integral in the warp and woof of the photo-play fabric, and they provide the rcplv to Hollywood's perennial request, DHL A. MS WANTED." It is with these words that we say "Farewell" to Sunn\ Hollywood, the Playground of the Playboys of the Golden West .... Words fail me, so I have no alternative hut to sign myself .... POO. Seventy Years of Trade Unionism. Trades Union Congress. '2/0. This excellent hook was originally published for presentation to delegates to the Blackpool Congress and is now offered at a special price to members of affiliated unions. It contains valuable information hitherto unpublished and is especially useful to younger trade unionists who wish to know more about Union history, methods and achievements. A.C.T.. of course, finds a place in the volume and actually supplied some of the photographs. Copies may be obtained from the A.C.T. office and all members are strongly urged to take advantage of the offer of such a worth-while volume while copies are still available.