Documentary News Letter (1942-1943)

DOCUMENTARY NEWS LETTER APRIL 1942 [continued fro s page) motives. But in the interests of accuracy, and also because I am sure that 1 am expressing the feelings of documentary workers as a whole, I must point out that Grierson has always been and still is a remarkable technician, a magnificent teacher, and, in short, a great producer. To suggest that his 'drive and initiative . . . obtained the formation of the E.M.B. Flm Unit", but that his influence was then superseded by that of Cavalcanti (who joined us in 1934, five years after the E.M.B. Unit had been formed), is a statement which must have astonished Cavalcanti as much as it astonishes anyone who knows anything of the British documentary movement. I owe far too much to Cavalcanti to give the impression that I wish to belittle in any way the enormous contribution he made to documentary during the period in which he was working with us Indeed, that Grierson invited him to join us is an excellent example of Grierson's deep understanding of the needs of documentary as regards the development of treatment and technique under an experienced and exceptionally talented teacher. Grierson is not merely the founder of the documentary movement. Since its inception it has been hisown understanding of film technique, his encouragement of experimentation and (to meet Lindgren on his own ground) his uncanny grasp and knowledge of aesthetics as regards art in general and film art in particular, which have been the driving force and inspiration of the progress of documentary. These qualities, out of deference to Lindgren. I have put first, but 1 must now add Grierson's political grasp and foresight, his incredible energy and organisational drive, and, above all, his unswerving loyalty not merely to the idea of documentary but also to all those working with him. I am sorry to have to recite this factual ABC. which will be so familiar to all unbiased readers ot D.N.L. who know anything about the Documentary Movement, but when a man of Lindgren's standing closes his eyes to simple facts, it is necessary to try and open them again. I am doubly sorry for the attack on Grierson since it is unfair to Cavalcanti, who worked so well and so fruitfully with us all under Grierson's leadership, and whose latest film, The Foreman Went to trance, is so distinguished by its realist technique, its excellent propaganda message, and its cinematic integrity. I am in entire agreement with Lindgren's feelings as regards film appreciation, and, in common I am sure with all documentary workers, will welcome all and any efforts by him and his colleagues at the Film Institute to tackle "the relation of cinema to society". 1 am sure, however, he will forgive us if we don't take his advice about aesthetics. We are to-day all of us engaged in the urgencies of war. Much of our work must perforce be devoted to short-term messages; but the various productions by documentary people in all sorts of units are sufficient evidence that documentary's basic purposes still hold good and hold firm. 1 am not interested in parochial squabbles am more than Grierson is; nor do I think any good purpose can be served by discussing this matter further, now that the facts of the case have been restated.. Yours, etc., FILM OF THE MONTH THE FOREMAN WENT TO FRANCE ii vv vs a very hot Sunday afternoon and you would have thought that after the long winter people would have wanted to get out in the sun and warm air and see the Spring. As we walked up Piccadilly and the Circus came in sight, we could see the queue. "Damn all these people going into stuffy cinemas when they should be out in the healthy fresh air". Inside it was nearly full and warming up. Half-past three, twenty to four, and the stalls started clapping. Looking round you see old Anstey sitting in the row behind — he seems to be nodding off. He suddenly looks up and sees you. I suppose all the boys are here waiting to see what Cavalcanti's film's going to be like. More clapping, and on comes the five minuter. The Owner Goes Aloft. Not one of the best, but everyone is pleased to see something, and it goes down well. Then Hayfoot, which also goes down verv well. James Gleason is good and old Joe Sawyer (who was in the Informer) is good too. Then the newsreel — Universal and Mr. Jefferys who I don't like. Then the lights come up. The curtains open and blue and red lights are thrown on the screen and they run the Rat trailer which is very good, but you can't really see it for the coloured lights. Its really hot and stuffy by now. All the air conditioning schemes seem to have gone wrong since the war started. Maybe it was the bombs. And they are standing down the side gangways. Then on comes The Foreman Went to France. Plain black and white titles. Its a wonder the English don't have trade marks like the Americans. Direction Charles Frend — Associate Producer Cavalcanti — just straight Cavalcanti — Script Angus Macphail and Leslie Arliss — couldn't get the third name. Sound, Len Page— he recorded Housing Problems. Photography, Wilkie Cooper, and we're off. That's old Bill Blewitt as one of the fire watchers. After a reminiscing first sequence, we are back into 1940 and the film itself. All the opening sequences of Clifford Evans trying to break down the stupidity of the factory management and civil service red tape go down very well. The audience seem to know that story by heart. I don't like Clifford Evans very much, he's too sincerely sincere. All the French people are extremely well cast though. I don't like Robert Morley very much either— he's loo clever— but lie is well directed and toned down. He is the villain so you can dislike him anvvvav. The first glimpse of Tommy Trinder and Gordon Jackson is very pleasant. It's nice to see someone being honest. The film really comes alive. (The attitude towards looting is typical of the whole film.) It is all very honest and very true— and the film is extremely good as propaganda, instruction, and especially morale. No points are laboured, nothing is distorted to make a propaganda point — which is such a common failing with both shorts and features. There is an example at the end of the film when they are trying to persuade a French fishing captain to take the machinery on his already overcrowded boat. The skipper says he doesn't know whether he can manage the machinery. The foreman, having heard that the French are fond of money, pulls out all his money, gives it to the skipper and says. "There'll be more when we get to England" — and the Frenchman just looks at him and says, "I don't want your money". A sequence like this clears anti-French feeling, and, more importantly, it does it honestly. It doesn't just say that there is nothing wrong with the French. It admits that maybe the French are fond of a little money, but it says at the same time that there are plenty of things the French are more interested in than money. It is rather an obscure point, but it is very important one. In so many films, and often because of the official attitude, everything is either pure white or pure black ; and it becomes just silly as far as convincing anyone is concerned. Once the film has started, it just gets better and better. The various fifth columnists, the beautiful sequences of French children — the audienc just lapping it up. This is the kind of stuff that English audiences have been waiting for for main a year. Tommj Trinder's and Gordon Jackson's dialogue is terrific. Someone using real English dialogue well. I bet it wasn't written by a studio writer— maybe that's unfair, but we have never heard anything as good before. Of course, a lot of credit' is due to the directing and acting that puts the lines over — but you've got to have something to work from. What more is there to be said? The film is all good from the beginning to the end — it deals honestly and respectfully with people — it puts the dirty dogs m their places. All you can do ij to congratulate Cavalcanti. the actors and tin technicians, and Michael Balcon, and hope thai they will make more films as good as this one. To DOCUMENTARY PRODUCERS SELWYN FILM SERVICES, LTD., have periodically FOR HIRE a surplus of extremel) PORTABLE AND EFFICIENT LIGHTING EQl IPMENi for interior location work. Also CUTTING FACILITIES at 90 WARDOl K ST. Enquiries to 19 Lexham Mews, W.8. Wes. 4969.