The educational screen (c1922-c1956])

February, 1943 Page 59 The Film and International Understanding Theory and Practice BOTH theory and actual practice are important in developing any program for promoting international understanding through the use of motion pictures. Theory is necessary in order that development may be consistent and comprehensive, and in order that new techniques and methods of procedure may be sug- gested. Actual practice tests the feasibility of theoreti- cal proposals. At the same time, developments in prac- tice may suggest modification or expansion of theoreti- cal considerations. The first two issues of this department were largely devoted to theoretical considerations. This month it is interesting to note actual procedures which bear upon these considerations. In December we considered fundamental problems in international understanding presented by the war, and suggested that the film could help us to under- stand and cooperate with our allies, to see through the flaws and weaknesses of our enemies, and to get a view of world problems which would be involved in post- war peace and reconstruction. The points stressed in the OWI letter, mentioned below, are amazingly con- sistent with this point of view. Last month the development of color as an clement in bringing about understanding was mentioned. The report on the Inter-American brochure indicates de- velopment along this line. Disney's work with Sah<do.<; Aiiiic/os suggests inter- esting possibilities. 1. Collecting material for a film in foreign countries may in itself be a vehicle for inter- national understanding and fair ])resentation. 2. Films in this field can be good entertainment. 3. Humor is not to be despised. He who laughs with us has made the first step toward friend.ship. 4. The potentialities of the animated film challenge our imagination. These animated characters, whether created by Disney or someone else, can be might}- ambassadors of good will; they speak a universal language, and tliey are endowed with fundamental and universal human appeal. Portraying Our Colorful Neighbors If any one adjective could be used to describe our mental picture of I-atin-.America, that adjective prob- ably would he "colorful.'' This quality of color is one of the elements whicii enter into our understanding of these southern neighbors. In view of this, it is only reasonable to e.xpect that at least a certain proportion of our films about them should be in vivid color. In this connection, it is interesting to note that in a recent brochure issued by the Coordinator of Inter- American .Affairs, describing twelve films, prints of which recently have been depo.sited in more than 100 regional distribution depositories, eight of the twelve films listed are in color. Walt Disney, Good Will Animator The current Disney release. Saliidns Amigos, is a unique contribution to international understanding— unique not only in its theme and conception, but also in the contribution t(j hemispheric understanding which Edited by DR. lOHN E. DUGAN Haddon Heights, New Jersey, Schools it already has made in South America and is bound to make in this country. It entitles Disney to the title of "Good Will Animator" in more ways than one. An ardent disciple of hemispheric solidarity, Disney, with a group of fifteen of his principal artists, mu- sicians, and writers, made a survey trip to Latin- America. On this trip they hoped to tap the reservoir of music, folklore, legends, .scenes, characters, and themes which might provide raw material for good neighbor films. Their tour included Brazil, Argentina, Chile, Peru, Uruguay, Ecuador, Panaina, Guatemala, and Mexico. They talked to persons high and low, and visited rodeos, presidential palaces, zoological gardens. Inca ruins, night clubs, bullfights, city streets and country roads, schools, celebrations, dances, circuses—in fact, any place or occasion that offered a picture possibility. Thousands of sketches were made, scores of songs re- corded, and many other leads developed. As a result, the group returned to Rurbank with a wealth of ma- terial for future good neighbor films. The first picture to result from this trip is Sahidos Amigos. Another called Surprise Package, and having its locale laid in Mexico, Brazil, Argentina and Chile, is currently in production. Others are in the process of development. Saludos . . . Alo Amigos . . . Saludos Amigos Sahidos Amigos bears a different title for the Span- ish speaking countries below the border, and another for Brazil. In .Spanish it is known as plain Saludos. In Brazil, where the Portuguese version is used, it is called Alo Amigos. Reversing usual distribution methods, Disney, in a further gesture of good will, released the picture in South America before it was shown in this coimtry. Enthusiastic audiences greeted the premieres in Brazil and Argentina, where the picture broke every theatre record. Saludos Amigos is entirely in color, and has four animated episodes which are welded together by live action color films of the highlights of the Disney party's trip. In addition, some of the most beautiful spots in Brazil, Argentina. Chile, Peru and Bolivia are shown, with an outstanding portion of the live action being devoted to the gorgeous carnival in Rio. "Lake Titicaca," "Pedro," "El Gaucho Goofy" and "Aquarela do Brasil" are the four animated episodes. In "Lake Titicaca" that grandi(jse American, Donald Duck, takes a trip to one of the highest bodies of water in the world, bordering Peru and Bolivia. "Pedro" relates the story of a little mail plane in Chile. "El Gaucho Goofy" shows the doughty Goofy, in the role of a Texas cowhand, transplanted to the Pampas of the Argentine, where he learns how the gaucho ex- ists. The closing episode is "Aquarela do Brasil" (Water Color of Brazil), based on a popular South American song of the same name. (Concluded on page 74)