The Cine Technician (1938-1939)

September-October, 1939 THE CINE-TECHN I (' I A N 97 FRENCH INDUSTRY by JOHN GRAY RECENTLY I was fortunate enough to be able to have a holiday in Paris, and combined the usual Parisian amusements with a busman's holiday and tried to see something of the making of French films. This was made much easier for me through the kindness of A.C.T. who furnished excellent introductions (for the busman's part of the holiday). It was the large Pathe studios at Joinville of which I saw the most. Without being as modern or as spectacular as either Denham or Pinewood, they are very well laid out and ought to be extremely convenient in which to work. They certainly possess an enviable record for it is here that have been produced such films as " Mayerlvng," "Peye le Moko," "Quai <Jes Brumes." "Hotel clu Nord" and many others. While, there I saw two films in course of production — "Tempete sur Paris," a melodrama, directed by Bernard Deschamps (who made "The Virtuous Isidore") and the stars of which are Arletty and Eric von Stroheim. The set for this film was interesting for two reasons ; it consisted principally of a long narrow passage of a covered arcade market, in which perspective construction had been used to a great extent. The whole of the back of the set was raked and tapered, which meant the employment, for certain long shots, of a number of boys made up to represent adult actors. Another interesting point was the extensive use of neon lights which formed a large part of the dressing of the set. These did not appear to give the cameraman much trouble, but were a constant worry to the sound department as a source of hum. The camera used was one of the latest Debries, 1 believe actually the very latest. They have thirteen Super Parvos at Joinville and these cameras appear to be far the most popular in France though many Camereclairs may also be seen. For sound K.C.A. :s used, and at Joinville at least, they use booths containing both mixer and sound cameras, which follow the production to which they are attached from floor to floor. One point that I especially noticed was the almost universal use of the inductor microphone, in preference to the ribbon more normally used in British studios, and the manner in which instead of using a boom or a stand the microphone is frequently just carried by one of the sound department in his hand. The use of the ribbon microphone, I learned on enquiry, is practically confined to music sessions. The other production which I was fortunate enough to see on the floor was Sacha Guitry's new comedy "Les The Maurice "Moritonc" Nevf Gelibataires." Beside the joy of watching such an actor at work, the chief interest on this set was to see the speed at which all were able to get through their work. Even technician had a script and the day's shooting had been planned in detail before starling, thus everyone knew exactly what next to do the moment each shot was finished. The working hours in the studio are from mid-day till eight, and these cannot be exceeded except on twenty-four hours notice, when shooting can continue till nine! It >s the custom, however, to have the mid-day meal before starting work, so there is no meal break, although there are always opportunities of obtaining something from the canteen. This shortening and tightening of the working hours has actually Led to decrease) in the number of days required for the shooting of an average production owing to the far better scripting that has resulted. Before leaving Joinville I must mention their wonderful property department. This is a largo building packed with genuine and first-class imitation furniture and furnishings of every period and country. So complete is it that the property master claims that he could furnish a set for any period at a few minutes notice. Pathe value it at many thousands of pounds and claim it to be unique in Europe. From the more general point of view, I was disappointed by the poor quality of projection in even the best central cinemas. The sound is definitely bad in. many of these, and the number of badly scratched prints with a multitude of marks for the changeover of each reel is surprisingly high. (C o)i eluded on fiage aR)