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ti LE COURRIER CINÉMATOGRAPHIQUE
reviews is wrong. It is honestly wrong. It is not wrong from a desire to blackmail someone into advertising or to damagé them because they do not.
And when it can be démonstrated that we are.
wrong, we are ready honestly to admit it. That attitude is the one we are trying to impress on the Trade in regard to our reviews When a renter has à film which is adversly criticised, let him admit that his jugement has for once been wrong. All his resentment at criticism, all his subsidising of venal Press notices, will not make a good film of a bad one. But it will accomplish one thing ; it will eventualy destroy the confidence of the exhibitor, his customer. Honesty is not only the best policy, but, when it comes to a final show down, it is the best paying policy, too. '
When the renter is strong enough to admit that he does sometimes have a bad film, and having discovered it is bad, does not want to make the exhibitor suflfer for. it by bluffing him into buying it by means of inspired « write-ups » he will be well on the road to building his house on a solid foundation.
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LÉ D 31 DÉCEMBRE 1920
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The other way is to build on sand. And this kind of sand has the nasty habit of being washed away by the rising tide of honest criticism |
This will be surely many of our readers OP nion .
Stoll Pictures Productions and the French Market
« The Yellow Claw » has been submitted t0 the judment of a particularly astute French firm, an has been found to fill every requirement of the French market. During his recent visit to Pafi® Mr. Jeffrey Berned, assuming for the nonce the mantle of sale$éman, offered this British picture {0 Pathé Frères, who thought so highly of it that they paid a figure far in excess of any sum yet given in France for a British production. The French purchase of the picture made by Ren£ Plaissetty has a satisfaction which goes beyol the handsome figure paid for it. It proves that th@ British film has an appeal for the Continent 2° well as for the home kinegoer.This is an important consideration to a firm, even when backed by
the immense resources of Stoll Picture Produtr tions, Ltd.
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