Focus: A Film Review (1948-1949)

192 FOCUS Bell, the Director of the British Film Institute, and there is a thoughtful chapter on the Influence of the Film with which to end the book. Mr. Bell says: “Those of us who are concerned in some degree to consider the implications of this new invention, are always astonished at the indifference displayed towards the new medium by people who could claim in other respects to be fully educated. This is the gi eater misfortune as never was a medium more in need of intelligent interest and guidance than is the film.’’ This echoes our own attitude so faithfully that we feel sure that Dr. Wollenberg’ s effort to remedy the state of things deplored in the Foreword will meet with the warmest approval of our readers. J. A. V. B. The Film Hamlet “The film Hamlet”, edited by Brenda Cross and published by the Saturn Press, Baker Street, S.W.i, at seven shillings and sixpence, is a distinguished production worthy, in every way, of Laurence Olivier’s great film. The purpose of the book is, in the words of the introduction, “to set on record the main experiences and opinions of the important executives and technicians concerned with the making of Laurence Olivier’s Hamlet”. The result is a complete, intimate and enlightening account of how the film took shape. In Sir Laurence Olivier’s own article "An Essay in Hamlet” the directorproducer-star takes us into his confidence and tells us how he first conceived the basic idea of the film and the way he worked it out. He reminds us that it should be considered as an adaptation of “Hamlet” — an “Essay in Hamlet” — rather than a film version of the play. On the technical side, Desmond Dickinson, director of photography, discusses the advantages and disadvantages of deep focus photography and helps us to appreciate the problems of lighting and perspective which he had to face and which he solved so successfully. These are but two of some fifteen contributions which, with carefully selected illustrations, make “The film Hamlet” such a pleasure to read. A suitable sub-title of the book would be — “A Study in Collaboration” — for only the most competent and enthusiastic collaboration could have produced such a work of art as Laurence Olivier’s Hamlet. J. F. Hogan. British Film Year Book. (Skelton Robinson, 22 Chancery Lane, W.C.2. 1947-48. 382 pp. 21/-.) Rather late in the year we notice the current issue of the British Film Year Book. It is edited by Peter Noble, that ubiquitous writer on subjects theatrical Ij and filmic. I must confess that I consider it remarkably poor value for the money it costs. Its most valuable content is, or should have been, its Reference Section. In fact it has the most curious omissions both as to persons and details. The accompanying articles include informative, stimulating, provocative contributions from the pens of C. A. Lejeune, James Agate, Anthony Asquith and Michael Powell, among others. J. A. V. B. Penguin Film Review No. 6. (Penguin Books, London, 128 pp., 1/6.) In spite of the 50% increase in price, this is still the best value for money to be found among the floods of film literature which inundate the bookstalls. The present issue is one of the best. It has several articles dealing with various aspects of the script-writer’s contribution to film making. Cash Down and No Credit, by Guy Morgan, is particularly useful. “It is ironic that the scriptwriter’s greatest grievance should be, not against the technical manhandlers of his script, but against fellow-writers — the critics. The film critic's habitual lack of mention of the screen-writer’s part in ;.. film production is held by the majority of screen-writers to be the greatest single limiting factor to the proper function of their craft.” Focus critics please notice. Dialogue for Stage and Screen, by Clifford Leech and Type if . Casting Screen-Writers by Martin Field '' are also to the point. Roger Manvell is, as always, interesting and informative in The Poetry Of The Film. An article on the films of Fritz Lang, by Lotte H. Eisner, is yet another of the spate of tributes to this great but decreasing German director which decorate the film { reviews. J. A. V. B. If