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

June 28, 1930 EXHIBITORS HERALD-WORLD 27 See Progress in Wiring of Theatres of France Higher Prices for Rentals, Too, Trade Commissioner G. R. Canty Advises Department of Commerce DURING 1929, depression in the French film industry reached the lowest level in a decade. Chief factors underlying this state of affairs were the abrupt change from silent to sound-films and the protracted film-quota controversy which kept American films out of France for six months. Domestic production of feature films slumped 44.6 per cent under 1928 figures, total motion-picture consumption fell 25 per cent, the American supply of feature films dropped 32.6 per cent, while German films continued their steady increase since 1924 with a 6.5 per cent jump. The supply of feature films censored for the French market since 1924, by countries of origin, is shown in the following table. Feature Motion-Picture Films Censored in France Country of Origin — 1924 1925 1926 1927 1928 1929 France 68 73 55 74 94 52 Semi-French1 * * 7 2 United States 589 577 444 368 313 211 Germany 20 29 33 91 122 130 Italy 9 13 14 10 7 3 England 7 2 8 23 24 Austria 6 2 4 2 1 Russia 1 1 10 2 9 Denmark 6 5 1 3 Sweden 2 5 2 4 1 Spain 1 2 4 Belgium 1 3 Poland 2 1 Czechoslovakia 1 1 Ukraine 2 China India 1 2 Armenia 1 1 Miscellaneous 1 2 Total 693 704 565 581 583 438 * Pictures taken on French territory and under French direction, but with not less than 50 per cent or more than 75 per cent of the leading roles filled by French artists. The table shows a market-consumption decline of 145 features, or 25 per cent, from 1928, a condition which was due chiefly to fewer exhibition dates being available on account of longer runs of sound films. The total market supply for the year, however, is the lowest since 1919. The decline was absorbed fully by French and American producers, since other gains or losses were relatively insignificant. French production declined 44.6 per cent, and the American supply decreased 32.6 per cent. German producers continued their progress since 1924, with an increase of 6.5 per cent. The British supply held its 1928 prestige, despite the lowered consumption of feature films. The share of the French feature-film market supplied by the leading contributors in 1929 as compared with 1928 is shown in the following table. Share of French Feature-Film Market Acquired by Leading Suppliers (In per cent) 1929 Country — 1928 Share Change from United States .... 53.7 48.3 1928 —5.4 Germany .... 20.9 29.7 +8.8 France .... 16.1 11.9 —4.2 England .... 4.0 5.3 +1.3 Other countries .... 5.3 4.8 —0.5 The French loss is ascribed to difficulties encountered in readjusting production to sound-film output and to caution in silentfilm output in view of uncertain demand. The American loss is due entirely to nonparticipation in the French market from March 30 to September 25, when the quota All-Europe Newsreel Planned by Klangfilm (Special from Department of Commerce) WASHINGTON, June 24.— An allEuropean newsreel to be made by KlangBlm-T obis in association with the Svensk Filmindustri is imminent, according to German press reports. Herr Andersen, general manager of the Svensk-Filmindustri, in Stockholm, has just concluded a far-reaching agreement with the KlangfilmTobis group in Germany, which covers joint multi-lingual production, with especially engaged directors and casts. Production will take place under Klangfilm-Tobis recording licenses. One of the plans of the combine is to make a sound-film expedition to the Arctic. controversy was being discussed. The German and British gains were due to unexpected demands for feature films while American features were off the market and not to any material improvement in quality or popularity. Domestic Production Domestic production by companies in 1929 as compared with 1928 is brought out in the following table. Production of Feature Motion Pictures in France Producer — 1928 1929 Franco-Film 8 8 Cineromans 9 7 Aubert 9 J4 Albatros-Armor 4 4 De Venloo 4 3 43 Pathe-Natan 32 Erka 2 2 Isis Film 1 2 Films Celebres 2 2 Loca Films 2 Nicea Films 1 2 Braunberger 2 *2 Ste. Films Historiques 1 Mercanton 1 Louis Nalpas 1 G. C. P. C 1 Distributeurs Reunis j. 1 De Merly 4 1 Sofar 1 1 Ste. Generale des Films 1 Petit 3 1 Mappemonde 1 Etoile Film 1 1 Vandal et Delac 1 Total 51 52 1 Aubert produced one sound film, La Collier de la Reine. s Tobis process. De Venloo produced one sound film, La Nuit est a Nous, in England under an American process. ’ Pathe-Natan produced a sound film, Les Trois Masques, in Germany under Tobis process. 4 Braunberger produced a sound film, La Route est Belle, in England under an American process. No production costs are available, but it is generally estimated that the average was $40,000 a picture. Many productions, to be sure, cost considerably less than this amount, but a few so-called “supers,” on the other hand, attained very high amounts. This would indicate a total production cost of slightly more than $2,000,000, as compared with $3,750,000 during 1928. Distribution Distribution of feature films during 1929, segregated by companies and countries of origin of the films involved, is detailed in the following table. Distribution of Motion-Picture Films in France in 1929 C J C ei •C J3 a d Distributors — I s s 1 i 1 < o Ph § American companies.... 133 2 1 Aubert-Franco-Film .. 11 11 13 3 2 Alliance-Cine-European 10 Armos-Albatross i 4 De Venloo 2 3 1 Distribueteurs Reunis.. 7 5 1 Erka 17 2 Film Elite 1 4 3 Grands Spect. Cinema .. 6 6 1 Lauzin 3 3 Loca Film 9 2 1 Luna Film 4 Mappemonde 3 1 Meric 9 Metropole 7 1 Omega 5 1 Cine-Romans 8 3 7 i" Pax-Film 2 i 4 Seyta 7 Sofar Film 11 i 1 Super Film 10 1 Victoria Film 12 Wilton Brockliss 10 1 Other 6 26 16 5 2 4 Total 211 130 52 24 9 12 Although 211 American features were distributed during 1929 as compared with 313 during the previous year, only 133 were handled by American companies maintaining their own subsidiary organizations in France. This latter figure compares with 231 for 1928, a loss of 42.4 per cent, which resulted from American inactivity during the quota negotiations. The remaining 78 American films distributed in France during 1929, as compared with 82 during 1928, were handled by independent agencies. Incidentally, American exchanges in France distributed but 3 foreign films during 1929, as against 17 during 1928. Production of Sound Films Much is being published concerning new recording processes in France, but very few of the equipments have actually been manufactured. The Gaumont company has equipped two of its three Paris studios with GaumontPeterson Paulsen sound recorders. The Tobis studio, at Epernay, has 3 Klangfilm installations.' The former Cineromans studios at Joinville, now controlled by PatheNatan, have installed 7 American apparatus and 1 Klangfilm. The Haik studio at Courbevoie has 3 Cinevox Haik installations. The Natan studio, rue Francoeur, Paris, has 2 American truck recorders. In addition, there are 4 other studios contemplating the installation of sound-recording equipment. It is evident that it will take many months before France will be able to produce even satisfactory dialog films beyond the Gaumont, Tobis, and Pathe-Natan studios (Joinville and Paris). Therefore, the majority of the sound versions of French feature films will undoubtedly have to be produced in Germany and England in order to meet exhibitor demand during 1930. It should be borne in' mind that but four “talkies” were turned out by French companies during 1929, and three of these were produced outside of France. Exhibition of Sound Films Many different types of reproduction apparatus are said to be available in France; 17 distinct types are announced as on the ( Continued on next page, column 1)