Focus: A Film Review (1952-1953)

149 have the most useful means of education yet invented. Thus through judicious use of all its assets, the motion picture becomes a most potent force in the guiding of thought. It cannot only rationalize but it can also emotionalize. For this reason it becomes a tool not only of the educator but also of the propagandist, of whom we are both. We at Maryknoll had long realized these facts. We had been turning out motion pictures since the very beginning of our society. But they were a hit and miss business lacking organization. In 1946, with the end of the war and a relaxation of controls on films and cameras, we made a detailed study in order to come up with a new programme. First we determined how films could be used to further mission work. It took no time to realise that there were two main fields. 1. In mission lands — where films could be used to draw people to the Church, and to educate our Catholic People in their faith, and provide wholesome entertainment. 2. At home, among the 30 million Catholics in the United States— where films could be used to educate the people about mission lands, peoples and work, in order to gain concrete support both in finances and vocations to carry on the apostolate . The first use for films created no problem. There was no need as we thought to produce films to be shown in mission lands. Thousands of films existed and more were being produced every day. There were films for education, both religious and secular. There were films for entertainment. There were films for every purpose. The first problem resolved itself to making motion pictures equipment and prints available to our men at the lowest possible prices. This we did by setting up an organization called the Maryknoll Photographic Service. The second field, vocational and promotional films for use in the United States, was more complex. Few good Catholic films existed. Therefore the only solution was to make them. Americans are used to quality perfection in motion pictures. The average American youngster sees approximately 100 feature length films every year. Without realizing it, the American movie-goer expects technical quality and pacing. When these are lacking he is dissatisfied. We knew therefore, that any films Maryknoll produced must meet professional standards. They must have quality equal to that demanded for theatrical projection. The easiest way to obtain that was to hire professionals to do the job for us. But we were soon disillusioned on that score. The cheapest prices at which we could get a completely professional job was beyond our reach: the cost came to $1,000 for every minute of projection time. Thus a two reel film would cost between $20,000 and $25,000. However, we were convinced of the importance of the motion picture in getting our ideas across to the public, and we did not want to abandon the programme. We sought a way of producing films more economically, without sacrificing professional quality. We learned that the greatest expense came in the actual shooting of the film. Union regulations required a a certain size lighting and camera crew, and these many individuals were highly paid. If we could avoid this expense, the project would be possible. . And that is how it has come about. We purchased equipment. Scripts were prepared in detail giving every shot length and camera angle. Nothing was left to hit and miss procedures. When the script was completely worked out it was sent, together with equipment, to one of our priests skilled in photography. He then shot the picture, returned equipment and exposed film to us, and the picture was professionally edited in New York City with original motion picture music scores added. (To be concluded)