Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

EXHIBITORS HERALD-WORLD 71 lune 7, I9j0 The European Film Industry in 1929 beginning a Series of Reports of Foreign Trade Compiled by the U. S. Department of Commerce EUROPE found itself confronted during 1/ 1929 with great difficulties in assimilatng the sound film. The silent film had not eased to provide satisfactory entertainrient, and a change was consequently unlecessary for economic purposes. In fact, ufficient headway had been made in silent ilms during 1928 to inspire European prolucers to proceed during 1929 with plans or greater stability and a more even level ,f production. However, the suddenness vith which the sound film succeeded in the Jnited States threw the European motion >icture business into an unsettled condition rom which it was only beginning to emerge t the end of 1929. Great Britain was the only European ountry whose motion picture industry nade any progress during the year. All 'ither countries, either through legislative lifficulties, patent litigations, credit strinencies, or a caution resulting from the unertainties of sound-film entertainment, jailed to keep pace with the world developIjnent in this new field of sound films. Feature film production decreased very onsiderably under the record figures of 928; new cinema construction lagged and | jvas not so systematic as in the immediate I ^receding years; progress in the wiring of inemas for the reproduction of sound films vas disappointing; legislation unfavorable :o foreign interests further hampered film rade, because of both the general effect of he Franco-American controversy and the trowing European appreciation that existing measures tending to restrict film imports are not efficacious now that the sound ilm is a factor. One outstanding feature of the European situation was the readiness with which the British film organizations grasped the siglificance of the sound film as their possibilty of achieving a leading place in the industry, after a distinctly unsuccessful 1928 eason, when an over-production of silent eatures was quite suddenly faced with a Teatly restricted outlet as first and second un cinemas were demanding sound films. Another feature was the strong indication hat the dissimilarity in the respective tastes generally of the American and Continental narkets for the sound film, particularly con;:erning the language question was gradudly being overcome. Continental film eaders are now of the opinion that not mly is the sound film the entertainment of •he future, but that the multilingual feaure, for export purposes, is a necessity to amortization of production costs. Film Production Under conditions existing during the year, t was natural' that feature film production n Europe would suffer materially. Prinarily, Europe lacked money for experimental purposes; its producers were compiled to await definite signs of public lipproval of the sound film before launching nto any serious production schedule, and ts exhibitors felt the necessity of biding heir time before purchasing at great ex)ense equipment for the reproduction of ;ound films until such time as a definite ilm supply was obtainable. As a result, i European production fell from 521 features n 1928 to 412 features in 1929, a drop of 11 per cent, while production costs declined rom $24,260,000 in 1928 to $15,135,500 last /ear, a decrease of approximately 38 per :ent. Many films were produced during 1929 vith both silent and sound versions, and, • n the latter case, to a lesser extent reproluced multilingually. This obviously makes an exact determination of production cost impossible. European film production continues to center in Germany, France, and Great Britain. It is believed that the output of the other countries had very little, if any, first-run success outside of their country of origin. A gradual disappearance of the preponderant small-size cinemas was evident during FILM BUYER This service is being hailed by exhibitors everywhere as indispensable in successful operation of their theatres. The next Film Buyer will appear as Section Tivo of the June 28 issue of Exhibitors Herald-World the year, with their places being taken by considerably fewer but larger houses in localities capable of supporting such houses. These were constructed purposely with a view to the exhibition of sound films, hence more intensive consideration was given to acoustics than heretofore. It is impossible to state in detail the changes in cinema construction during the year. Accurate statistics have never been available; and no records seem to be kept systematically of houses eliminated entirely from business, enlarged for purposes of better commercial possibilities, or converted to cinemas from other types. Neither is it possible to determine the net changes in the total seating capacity. However, it is possible to estimate with more accuracy the number of new cinemas that were constructed during 1929. As in 1928, Great Britain was far ahead of all other countries in this respect. Cinema expansion continued in Germany, too, while France made some little progress. The following tables give the estimated number of new cinemas constructed. While only a relatively small decrease is revealed for 1929, it must be borne in mind that this was due chiefly to the favorable British situation, where cinema changes were hastened on account of the popularity of the sound film. The Continental state of affairs was not nearly so encouraging. Market for American Films Aside from the innumerable petty problems involved in the distribution of films, censorship, music rights, and patent litigation, the chief problems of the American film industry in Europe were the language barriers and legislation inimical to the film importer. The latter problem is probably the more important, inasmuch as it is impossible to foresee market conditions when these indefinite restrictions remain, *just as it is extremely hazardous to make financial investments in an attempt to strengthen demand for motion pictures. In some instances, it is felt that existing film restrictions have been invoked in order to compel, or at least attract, American investments in local film units. In any event, American investments in Europe on film projects, especially on the Continent, are a hazard so long as the film quota or contingent system, with its susceptibility of alteration to the needs of local industry remains a factor. There is very little doubt in the minds of European film leaders that the United States will eventually be able to furnish enough satisfactory sound films for European audiences, though the question of production cost of foreign language films in its relation to possible yield induces the thought that America will be unable to compete with European production. This, however, resolves itself into a matter of bookkeeping and experiment. Attractive play dates will continue gradually to expand, and as new distribution policies attended by reduced overhead expenses enter into the situation, these should contribute to profit in the Continental market. It seems to be an accepted fact that little progress can be made in the immediate future in the small European markets, on account of the language difficulty. In the past, these markets have offered only small markets, at best, for American feature films. Now, it appears that the few wired cinemas in these countries will provide more lucrative returns for sound films than previously was the case with silent features, provided that sound films are offered (a) in the country’s second language; ( b ) as synchronized with sound, effects without dialogue, or (c) with a little foreign dialogue and domestic subtitles superimposed on the film. The question of the so-called “medium” markets, which are in themselves desirable, but which for the time being do not appear to be able to support talking films in their own language, is quite serious. They appear already to be tiring of films in foreign dialogue and are clamoring for a change. While it is too early to prepare a guide covering present day distribution, in view of indefinite plans of the various world production centers, the following division of countries by types of film that serve the best purpose is submitted. Group I, which can be supplied with films in one of the leading languages (English, Spanish, German, and French) are Great Britain, Germany, France, Belgium (French), Switzerland (French and German), Spain, and Austria (German). Group II, whose territory is too small for economic production of films in the domestic language and where the exhibition of films in the sound language is risky, are Sweden, Norway, Denmark, Italy, Czechoslovakia, Hungary, and Poland. Group III, small countries where films should be released in the sound language (indicated in parentheses) that are merely sound synchronized or have native titles superimposed on the screen, are the Netherlands (German), Portugal (Spanish), Turkey (French), Greece (French), Bulgaria (French or German), Rumania (French). Yugoslavia (German), the Baltic States (German), and Finland (German). In the above consideration the second language was picked from the four languages that seem to be preferred in the production of multilingual films. It should be borne in mind, however, that in some instances, the second language, though readily understood, is unpopular on account of national sentiment. Specifically, the outstanding obstacles of the American trade during 1929 were the patent litigation in Germany and the sixmonths’ recess in sales activities in France on account of the Franco-American filmquota controversy. Both of these instances caused unfavorable indirect reactions in other channels. (To be continued in the next issue)