Independent Exhibitors Film Bulletin (1960)

WHAT'S THE COMPETITION OFFERING THIS SEASON* THE TV WATCH 9y ZIGGY GERALD The use of video tape grows and grows, and the television screen is becoming populated with "little" movies. Less and less of TV reaches the audience "live." And one viewer, at least, is convinced that this trend must result in a dwindling television audience. Because pre-recording tape has permitted many of the motion picture's techniques to be adapted to television, all ends of producing are taking on a far more glorified air, with tv studios resembling Hollywood sound stages and programs bearing much of the cinematic complexity, in both scheme and concept, of the vast storehouse of celluloid ancestry. As these shows noticeably take on more of the motion picture's characteristics, they enter an unfair realm of comparison, both inevitable and illogical. The fact that the same techniques are being applied to the fledgling industry creates an impression on the part of producers that similar standards can serve both. If these television shows are worth the time and expense that went into their making (what a rare occasion that is!) any imitative and ill-suited production methods are apt to be overlooked. But, when an expensive show is no better than a comparable and cheaper one that's "live," it can easily and justifiably become the recipient of much harsh but accurate criticism. With the advent of grand scale production, through the innovation of video tape, the "live" show is becoming the television rarity. Not counting the copious number of weekly filmed series, most of the regular variety and dramatic shows are now being taped either partially or completely before broadcasting time. Whenever there is a "live" show, publicity boasts it eagerly— hoping for ingratiation. The recently departed series, Big Party, began each shindig with the ebullient Barbara Britton proclaiming proudly in the most patronizing of all smiles: "This is the Big Party; brought to you LIVE from New York." The distinctive traits of radio and motion pictures have been carried much further in television. Whereas radio stimulated the imagination of each listener, the movies developed powers of absorption to unrealized peaks. Television has added the vital element of participation in home viewing. Audience enjoyment from many of the shows presented is derived from a feeling of closeness and intimicay with what is taking place on the miniature screen. This proximity allows for thinking, along with members of a panel show; guessing with quiz show contestants;discussing all manner of delicious subjects on discussion shows. The direct connection of both performers and audience is an equation that can only work successfully when the shows are presented "live" and not on tape. Even the dramatic shows depend on a connection of sorts — although it isn't as necessary. In the variety shows, there is a tremendous consciousness of the audience on the part of the performers. Knowing that a show depends on this kind of audience contact, it would seem maleficent of the networks to permit any such "participation" shows to be taped. Not only is a good bit of the intrinsic excitement and mystery of expectation eliminated, but home response becomes an artificial thing. Although video tape is far, far superior to the old kinescopic means of recording shows, it is extremely presumptuous of the networks to present a taped program and expect the degree of audience enthusiasm the same program would have "live." Spontaneity is quickly removed through the passage of time, no matter how brief. Watching past history can be most educational, but not nearly as exciting as seeing it being made. The talent to expand on the "now,"" the "present," is one of television's most remarkable attributes. To know that the program you watch is being performed at the same time gives the medium the vitality and life of the theatre within the limitations of the screen. Video tape should be reserved for the recording of programs that are technically too hard to be done "live." The quiz shows, dishonest as they were, possessed an energy and aura of vica rious participation that will probably go unrivaled in the historic annals of the entire medium. And for millions of people the immediacy of a sports event makes it the most rewarding attraction offered on TV. Video tape has brought with it the censuring device of editing: a technicality responsible for continuance of mood and smooth transitions. In the hands of the television technicians, editing has ranged from superb (in Moon and Sixpence and Turn of the Screw) to scandalously poor. Many a recent play has been ruined by poor editing that sopiled the entire continuity of the play. This was particularly true of the Susskind M-G-M Talent Associates productions of Mrs. Miniver and The Philadelphia Story. Both were faithful film adaptations, literate and well-cast. They were hindered tremendously by the injurious touches of the editors who chopped up the plays, disconnecting much of the action. The Startime special, Meet Cyd, Charisse, was an excellent study in misuse of video tape. For months before, the show had been so carefully "prepared" that there was no question of it's failure. But, during it's preparation, all freshness and spontaneity were squeezed out. The whole soggy affair seemed to be patched together from an overabundance of finished pieces. The marvelous thing about video tape is its complete indiscernibility from "live" television when it is used properly. Many a daytime show, because of heavy production schedules, tapes a day before or even earlier the same day. In certain cases, editing is not performed. Still, these shows suffer for time has passed and an uncomfortable haze of the past covers all. For a medium whose essential significance and importance lies in it's vitality and immediacy, it seems irrational to concentrate on taped shows. Video tape may ease the tension of producer and star, but it also robs the audience of something very essential to full enjoyment of television. A "spontaneous" show that is void of spontaneity is a wasted effort for producer and viewer. Page 20 Film BULLETIN January IS, 1940