Kinematograph year book (1944)

British Production. 267 willing to fight back. He believes he can build up a world market within four years of peace. Mr. Rank is, of course, in a favoured situation, sustained, as he is, with the bargaining power of the G.B. & Odeon circuits. He is in a strong bargaining position to obtain fair distribution outlets for his pictures. To what extent it is proposed to share these advantages with his less fortunately situated producers it is, of course, impossible to say, but an altruistic gesture of this nature might mitigate to an extent criticisms of the monopolistic character of Mr. Rank's operations. Monopoly or Rationalisation? — Alarm at the concentration of the financial control of the Industry arising from Mr. Rank's expanding interests was expressed by representatives of all departments — exhibiting, production, and equipment — and early in the year a vigorous attack wTas made on monopolistic tendencies by the A.C.T., who challenged the proposal that the Rank production interests should supply American renters with all their quota requirements and also the formation of the Scenario Institute. As a result of this and the continual growth of theatre circuits controlled by Mr. Rank, representations were made by the Films Council and other bodies, particularly the trade unions, on the subject which elicited the assurance that the Government would not tolerate any form of film monopoly, either as regards studios or kinemas. It was also stated that no other acquisitions, other than those then (July) in negotiation, would be made without the consent of the President of the Board of Trade. Mr. Rank's own view was that he had no desire to see anything in the nature of a monopoly created in film Industry, but he urged the necessity of some degree of Rationalisation if the British Industry was to be built on a sound basis and given sufficient solidarity to compete in fields where powerful elements were already established. Another view of the monopoly danger was contributed by the British Screenwriters' Association, which called the attention of the Board of Trade to " the monopoly which the Hollywood film industrialists continue to hold over British screens. The Government was asked to give the strongest support and protection to British film producers, who are not dependent for their finance upon Hollywood sources. Production Progress.— The Screenwriters' resolution infers the danger to British production arising from the clearances of hitherto frozen film rentals to the States, which at the time of the Government decision amounted approximately to £15,000,000, and which it is now computed is in excess of £21,000,000. It is feared in certain quarters that a considerable proportion of this sum may be employed not only upon U.S. sponsored production in Britain, the native production of which would decline as the result of financial competition with which we should be unable to cope, but also upon securing the exclusive services of British writers, artists, technicians and others who, not unnaturally, will avail themselves of the dazzling rewards offered. One case in point is the list of famous writers and artists signed by Sir Alexander Korda in connection with the announced £3,000,000 annual budget of M-G-M British. The complaint, of course, is no new one — it was formerly made against certain of the companies associated with Mr. Rank and the only redress apparently left to the less fortunate organisations is to train and develop, under contract, their own man-power. Another difficult phase in the man-power problem — the encroachment by the State on commercial production was dealt with by the Films Council, whose representations that the matter had become so serious as to threaten the very existence of private enterprise was not without effect. It is hardly a coincidence, however, that many important personnel of a Crown Film Unit have been attracted to commercial producers. This subject to increasing costs has evolved vigorous argument during the year. The success of " In Which We Serve," which cost in the neighbourhood of £250,000, has been followed by its producers, Two Cities Films, embarking upon a current production budget of £1,500,000. which includes two subjects in Technicolor, upon one of which — " Henry V," £325.000 has been