International projectionist (Jan-Dec 1935)

8 INTERNATIONAL PROJECTIONIST July 1935 revolution comparable with the upheaval occasioned by sound pictures. As a plug for "Becky" this was all very well; but did close inspection of this feature lend credence to the prerelease ballyhoo and set the customers palpitating for the next color feature picture? We think not. "Becky" is held to have been an unfortunate choice for the first all-color feature release; and with this opinion we agree. Still, it cannot be denied that "Becky" gave the color technicians a rare chance to exercise their talents, and the finished product undoubtedly represents their very best efforts. As entertainment, apart from the novelty of color, "Becky" was a pancake, but nobody seriously interested in the possibilities of color as an aid to this slightly punch-drunk business paid much attention to other than the color process. It is true, we think, that color diverts one's attention from the story and militates against that calm interest that is the primary requisite for a sucessful movie presentation. And "Becky" conclusively demonstrated that henceforth the sly little vixens who at 40 years of age essay the role of sweet schoolgirls, had best wear high collars and long sleeves. This goes double for the durable male heart-flutterers who daily leave the set to rush home to their grandchildren. Technicolor lighting is that discerning and ferrets out the age lines of all who tread before it. 'Becky' No Box-Office Champ "Becky" cost its producers more than one milion dollars before a single release print was made, as compared with an average cost range of from $185,000 to $300,000 for other major studio program features. And "Becky," not forgetting its chief function as the herald of Technicolor, was only a fair program feature. But, do we hear it asked, didn't color make "Becky" a more valuable box-office property and attract a sufficiently greater number of customers to at least justify the added cost of the color sequences? A definite "No" is the answer supplied by the box-offices of theatres which thus far have played "Becky" — apart from the scattered few de-luxe showings which were given extensive and expensive special exploitation attention. And so it appears that all-color feature films not only fall short of "revolutionizing" the motion picture business but actually fail to earn their keep, even on the basis of hopeful expectancy that increasing use of color will drive the production cost down to 3 cents per foot. One suggestion advanced to overcome the high cost of allcolor features is to incorporate color sequences in black-andwhite pictures. Past experience has demonstrated beyond question, we think, that color sequences are much more unsatisfactory than no color at all, the transition from blackand-white to color, and vice versa, comprising all the elements necessary for administering a first-class shock to the sensibilities of the onlooker. Noticeably lacking in "Becky" were outdoor shots, and a constant level of illumination contributed to a "flat" presentation throughout. Of interest in this direction is the appended very worth while contribution of Dr. A. N. Goldsmith to the color-film art: "Until recently the color motion picture companies fought shy of using or taking out-door scenes to any extent, for later theatre presentation. They seemed to restrict themselves to studio material taken under very closely regulated conditions. Of course, that is a severe restriction and sooner or later there must be plenty of out-door scenes upon the screen. "If the light changes in an out-door scene as it does every time a cloud drifts across the sky, the natural effect will be to have it show upon the screen. I am not so sure that the artificially perfectly maintained color in a studio production of color motion picture is either a desirable or a faithful presentation. If we walk around this lecture room, our apparent color changes as we get nearer the green-gray reflecting walls or the orange-yellow lamps. If a color photograph were to be made of us in this room, it should show such effects." Personally, we prefer a crisply lighted black-and-white picture to even the best color job we have seen. The former process is not hedged about with the limitations imposed by color production. Adherents of color can muster all the witnesses they choose to dilate on the "art forms" of color, but we unhesitatingly vote for a black-and-white that presents true light and shadow, fine background lighting, crisp definition and, if and when necessary, that pasty grey that is so abhored by critics who know nothing of motion picture set lighting. Where is the Money Coming From? To sum up, it is our opinion that Technicolor has failed to demonstrate any artistic superiority over black-and-white. This opinion is subject to immediate revision, of course, should some startling technical contribution wash away the many shortcomings so apparent in "Becky Sharp." The answer to the economic possibilities of all-color features lies without our province, since the box-office tally sheets on "Becky" are most expressive on this point. We're for anything that will pep up box-offices, of course, but we suggest extreme caution in applying a stimulant that might possibly kill before it cures. Technicolor is compared favorably with sound pictures as another box-office bonanza, but it hasn't provided any basis for such a comparison. Allcolor feature films will cost this industry great gobs of additional money. We rise to ask, "Where is the industry going to get it?" Certainly not from the 10 and 15-cent theatres comprising a majority in the industry and which are having a tough struggle under present conditions — including the paying-off for the "blessings" of sound pictures. Of special interest to projectionists is the fact that Technicolor officials are deeply concerned about the insufficiency of illumination in a majority of theatres. The new Suprex lamps fill the bill perfectly, of course (although we think that prevailing Suprex amperage levels are slated for another boost shortly). Theatres still using low-intensity equipment will continue to give wholly unsatisfactory color reproduction. Sound Equipment Profits EVIDENCE submitted to the Federal Trade Commission in its investigation of the A. T. & T. structure indicates that Erpi made a net profit of $9,450,000 since its organization in 1927, a period of eight and one-half years to date. Profits would have been much larger were it not for the lickings Erpi has taken in court cases and patent proceedings, notably the Warner case which cost Erpi three millions to settle, plus trial expenses. Erpi is welcome to these paper profits for the time being. Question: What large sound equipment company plans to ask Erpi for an accounting of its profits and practices in this field since 1927? Incidentally, Erpi's reply to the campaign by I. P. against the extension of Erpi influence in the theatre servicing field was to cancel its advertising. I. P. can get along nicely v/ithout Erpi support, and the latter's action is a direct slap at the craft rather than at I. P. We hope that the craft is duly appreciative and is exerting every effort to help Erpi's business. A So-Called Voluntary NRA FRIENDS of the late-lamented NRA have put their heads together and concocted some fantastic scheme for a "voluntary" NRA which will take some high-sounding association name and proceed to endow the industry with its blessings in the form of self-regulation. Labor is positively declared "in," of course. We have one comment to make: If the NRA compulsory arbitration clauses were bad medicine for Labor, then this proposed organization for "self-government" is positively poisonous. The arbitration proceedings concocted for this new all-industry organization will slaughter Labor in no time. I