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type of comedy he represents, the advance is distinct and encouraging.
There is, too, a tendency to introduce British atmosphere and characters on to our screens — a thing which the public has been demanding for a long time.
The Song of the Plough — not a great film, certainly — was a step in the right direction. Its camera work in the English countryside was noteworthy and while it could well have had a much better story, it did strive to deal with the problem of the farmer in this country.
Other industries in this country could with advantage be afforded the same treatment and make highly interesting backgrounds for stories dealing with our own people.
Sorrell and Son, again a tj^ically British conception, was originally made in the silent version in. America. It is another sign of the times and of
Laughton exciting critics and pubUc alike to unstinted admiration, the future looks rosy enough.
The fact, too, that George Arliss now his American contract has terminated, has come here to appear in a wholly British production Wellington, is another landmark.
George Arliss is, of course, an Enghshman, but he has been in American films so long that one is apt to forget it.
He brings with him not only talent, but prestige ; for he is one of the most respected as well as one of the cleverest character actors on the screen. L.C.
A-gain, how many American stars nowadays can prove so powerful a magnet to the box office as our own Jack Hulbert or Cicely Courtneidge.
I am not saying their productions reach the same level of technical excellence as some of their foreign rivals, but I do believe they are giving you, the public, what it wants, and that the quality has improved immeasurably.
In the broad slapstick vein, Leslie Fuller has a vast following and in this direction, too, in ingenuity of idea and presentation of the particular
the march forward of British produas that for the talkie version H. B. Warner should play his former role in this country.
Indeed, it is one of the signs which definitely justify our optimism for the future — this influx of well-known artistes to our studios. Certainly we have had some which only came because they looked upon it as a chance to get a big salary when they could no longer demand it in their own country, but the majority are still at the height of their fame and they would not be here if they did not think our technicians and studios could do them justice.
Douglas Fairbanks, jun., I feel sure, would be the first to admit that he achieved one of his greatest performances here as Peter in Catherine the Great.
Conrad Veidt, the famous German star of the silent days, has built up a tremendous reputation much greater than he had before, by making films in this country.
With Elizabeth Bergner, who has been hailed as the German Sarah Bernhardt, already here, Maurice Chevalier coming over, and our own Charles
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