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DOCUMENTARY FILM SINGE 1 939
Iris Film, is run by Dr Kaufmann, first known for his scientific and industrial films at pre-Nazi U.F.A. There is also a certain amount of educational and scientific film production.
The reputation of Swiss film-making abroad is based, however, mainly on the feature productions of Praesens Film who were responsible for Marie Louise (1943) and The Last Chance (1945), directed by Leopold Lindtberg. Strongly realistic in approach, these films employed documentary techniques in their production and have enjoyed a considerable success. More recently, with M-G-M finance, the same company made The Search (1948), written by Robert Schweizer, who also wrote the script of The Last Chance, and directed by the American Fred Zinnemann. Like the others, it dealt most movingly with the human aftermath of war. In 1951, Lindtberg directed another storydocumentary, Four in a Jeep, which brilliantly handled a highlytopical situation in Vienna under Russian-American-French and British military police control. Its successful overcoming of the national language problem was notable.
Denmark
The rise of documentary film-making in Denmark — which has renewed the country's reputation and enlarged the vision of its people — goes back to Poul Henningsen's The Film of Denmark (r935)j a beautifully composed film of everyday life, sponsored by the Government. Its lyrical grace and occasional sly humour were characteristic of much subsequent film-making in Denmark. A few years later Theodor Christensen working with the first documentary unit, Minerva Film, made Iran, the New Persia (r939)j on tne Trans-Iranian railway. It was sponsored by Kampsax, the big firm of Danish engineers. Effective sponsorship did not, however, begin until just after the start of the war. To maintain the independence of Danish film-making and thereby keep the cinemas free of Nazi propaganda shorts, the Government developed an extensive programme. The Ministeriernes Filmudvalg was formed to work with Dansk Kulturfilm, representing the main educational and cultural bodies, both drawing their finance from a tax on cinema receipts. What was at first a defensive measure soon yielded very positive results. Thanks largely to Mogens Skot-Hansen — a civil servant with a remarkable flair for film-making, who took charge of the
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