La Cinématographie Française (1938)

202 ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ ♦♦♦♦♦♦♦♦♦♦♦♦♦♦ FRENCH PRODUCTION 1938 Quality and improvement gained in I9B7 likely to be continued. Many hopes in young French talents. ^ Pierre AUTRÉ After the excellent resuit obtained during 1937 bv the French Production which gave the International Cinéma market about 30 to 35 outstanding' quality films, headed by productions such as Un Carnet de Bal (A Dance Program), The Pearls of the Crown and La Grande Illusion, evervone in France and abroad is anxious to know whether lliis improvement and big effort will be carried on during 1938. In spite of the fact that numerous plans hâve been announced, as will be seen below, it is still difficult to say exactly what the French production of 1938 will be. It is to be noticed that during the first quarter of 1938, 20 films only hâve been produced instead of 31 in 1937. But on the other hand, there are still many films produced in the second half of 1937 which hâve not vet been tradeshown or released. NEW DIFFICULTES IN PRODUCTION CONDITIONS Since a vear, production conditions in France hâve changed a great deal. Due to the higher cost of living and the application of the new social laws, bringing about the 40 hour week in the Studios, the production cost lias risen by abont 40 percent. The average cost of a French film is by now not far from 2,500,000 to 3,000,000 francs. Of course these priées are still far lower than American and English prices, but for a limited market such as the French one, the amorti zation of films is not easy. The difificulties in Central Europe as regards exporting money, quota and film régulations are Well-known. The best markets for French films are now South America, Scandinavia, Holland, and the Balkan territories, besides French speaking countries such as Belgium, Switzerland and Canada. The English speaking territories — U. S. A., Great Britain and Dominions — are just heginning to receive the best French films. Un Carnet de Bal and La Grande Illusion hâve been hits in London. Magerling was shown for nearly 30 weeks in the sanie theatre in New-York. But these are exceptions and much has still to be done on these markets where due to their quality and their originality, French films, which are the best after American films, ought to find their own market, with no harm or compétition for the American production. Another difficultv to be shouldered by French producers was the supply of capital. About one third of the 1937 production was backed by British capital, but this method cannot continue due to exchange variations. French producers who had received pounds sterling from London bankers at the rate of Frs. 110.— to the pound bave now to reimburse n at Frs. 160. — to the pound, i. e., an extra charge of 50% on the cost of production. FRENCH PRODUCERS HAVE MANY IMPORTANT PLANS WHICH THEY DO NOT HASTEN TO REALIZE It seems that in view of ail these facts, French producers hâve not dared to launch such a large number of big productions as last year. It does not mean that lhey will not do it in the future, but for the first three months of this year, they hâve earried on a sort of «wait and see» policy. The resuit is that during the first quarter one will not find any titles of big films such as produced last year, La Grande Illusion and Carnet de Bal. But it is probable that such important films will be made later and up to date no hope is to be lost, it is merely some delay. For instance, Jean Renoir, who a year ago produced La Grande Illusion, has been busy up to the last weeks on La Marseillaise. Julien Duvivier. director of Pépé le Moko and Carnet de Bal is in Hollywood for M.G.M. not working but hoping to make a film soon. Sacha Guitry, who last year made The Pearls of the Crown will soon start another film of the same kind Remontons les Champs-Elysées, which will be the story of the famous Paris Avenue since the 17th Centurv to our days. The principal French films produced since the end of the year bave been Tragédie Impériale, a film on Rasputin, directed by Marcel L’Herbier, Le Quai des Brumes, directed by the young director of Jenny, Marcel Carné, The Patriot, directed by Maurice Tourneur. Details of these films will be found further on. If one is to judge by the films now in production and the plans already announced it would seem that the amount of French pictures produced in 1938 will not exceed 75 films as compared to 120 in 1937. But no definite forecasts can be made before a month or two. Ail dépends on the way European and French events will develop. Anvway, a fair amount of films are either in production or announced and eonfirm that the quality, if not quantity, of the French production will continue in 1938. The titles indicated underneath are good proof of it. SUCCESSES OF YOUNG FRENCH TALENTS Another characteristic of the French production and something which gives full confidence in its future and its constant progress, is the arrivai and the suecess of young talents, directors as well as players : directors such as Léonide Moguy with Prison sans barreaux, Pierre Chenal with Alibi and The Lafarge Case, Jeff Musso with The Puritan, Marc Allégret with Gribouille and Orage, and players such as Corinne Luchaire in Prison sans barreaux, Annie Vernay in Tarakanowa, Blanchette Brunoy in Nous les Jeunes, Paul Cambo in Ramuntcho, etc. Success has now established these young talents and the French production must rely on them for a production of quality, younger and better than ever. 30 NEW FRENCH FILMS RELEASED DURING THE FIRST QUARTER OF 1938 THE MOST IMPORTANT ARE : L’Affaire Lafarge (The Lafarge Case). — Directed by Pierre Chenal, from Ernest Forneron’s historical taie. Cast Pierre Renoir, Marcelle Chantal, Eric von Stroheim, Raymond Roulleau and Sylvie. A powerful draina based on a famous criminal case which happened about a century ago. Production and cast are excellent. Etes-vous Jalouse? (Are you Jealous?) — This old-fashioned French play has been turned into a light and humoristic film, well directed by Henri Chomette (brother of René Clair). Amusing comedy and clever dialogue. Good cast with Suzy Prim, André Luguet, Charpin, Gabrielle Dorziat and a charming new talent : Genia Yaudry. Hercule (« L’Incorruptible »). — An amusing and satirical comedy dealing with French Press circles. The story, an original by Carlo Rim is in some parts similar to the idea contained in Mr. Deeds Goes to town. Hercule, native of the South of France has never heard of his father until the latter dies, leaving him a big Paris newspaper concern. Hercule is honest and cannot understand ail the various « arrangements » which are usinai in the journalistic world and décidés to run the paper in his own way. Fernande!, Gaby Morlay, Jules Berry and Pierre Brasseur are the principal players in this typically French film. Director : Alexander Esway. L’Innocent ( The Innocent). — A delightful French comedy, somewhat reminiscent, although in a French way, of Charlie Chaplin comédies. One of the best young French actors, Noël-Noël (translate Christmas-Christmas) plays with romance, humour and émotion the part of an honest inan who refuses to believe in bad people and bad things. He beconies entangled with Paris night club gansgters and unknowingly mixed up in a sériés of thrilling adventures. Situations, excellent dialogue and Noël-Noël’s attractive personality are the reasons for many a good laugh. Original story by Noël-Noël, Georges Chaperot and Wheeler. Directed by Maurice Cammage. Légions d’Honneur (Légions of Honour). Has been awarded the « Grand Prix » of the French Cinéma for 1937. A powerful drama featuring the life of the French Meharist battalions in the Sahara desert. Directed by Maurice Gleize, the film contains