La Cinématographie Française (1950)

TTTT«»»iYTTYXixxxxxxxxxXXJUIi3a LAciNÉMATOGRAPHiE FRANÇAÎSE Jf UammiXXXXXXXXTTïtUTTTTTr ESPAGNE — IMPORTANCIA DEL CINE EN BARCELONA But t li c film iuiiustry lias a very good case in pointing to the fact thaï cinéma business i.s ai présent classed with dog pr liorseracing and pays the fui 1 rate of duty, whilst lheatres, music-halls, football-games and even cireuses, enjoy the privilège of a reduced rate. It seems in fact rather anomalous Huit a 1 shilling seat in a musichall is duty-free, while at a cinéma 3 l/2d. is due for su ch a seat, or that on a lOsh. (’>d. ticket a cinéma lias to pay 5sh. in Entertainment Tax as compared witli lsh. 7d. paid by a circus or theatre. However in the recent parliamentary debate on the film industry Mr. Wilson flatly rejected Mr. Rank’s claim for a <axrcduction and ignored liis threat to abandon production if liis wishes were not met. « Il is wrong — lie declared — to regard the industry and the Rank Organisation as being in any sense coterminus » (i.e. identical). When considering the financial lusses, for which Mr. Rank blâmes the Tax in the first place, Mr. Wilson might hâve remembered that in the case of the big groupé the production losses were often made good by the profits of their own circuits, which were such as to aliow, for instance, the « Associated British » to pay a dividend of 20 %, while the intérim dividends of the three different « üdeon » Conipanies amounted respectively to 14 %, 7 % and 3 1/2 %. Before taking any action the British Government will — according to Mr. Wilson — study very thoroughly the enormous material gathered by the « Working l’arty » and the « Plant Committee ». Il lias certainly no plans for nationalising the film-industry, and even the often discussed project of a state-owned cinéma-circuit does not seem to be under considération at the moment. So the industry, greatly aided by the « Film Finance Corporation », is left ail fhe freedom to put its own house in order. From this, necessarily sketchy, survey one can already gather that in many instances it is doing so very efficiently. The crisis lias somehow shaken up the filni-makers and made them see tîieir possibililies and their natural limitations in the perspective of realjfies. Abandoned are the day-dreams of competing with Hollywood on its own level, abandoned the plans of costlv superproductions supposed to conquer the worldmarkets at one stroke. Gradually the idea gains strength that film-making is not simply a mechanical process favoured by the build-up of a huge administrative machine inspired by nothing else but a « civil service spirit ». In the British studios a number of modestly budgéted pictures are in préparation today which may prove to the world that imagination and enthusiasm are more important factors in producing films of quality than lavish expenditure. In this présent situation, in which the British public is slightly tired of the stereotyped Hollywood product and not enough British films are available to fill the gap tliere is definitely a chance for Continental films to become more popular than they were up to now. A great effort has been made by the French conipanies, which established in London two distributing agencies : « Films de France » and « Blue Ribbon Films ». It is too early yet to pass in review their recently started activities which at a pro Debido a la protection que el Estado otorga â la production cinematograficà concediendo anualmente importantes premios à las mejores peliculas espanolas producidas que por su importancia y méritos lo merezean, la producciôn cinematografica espanola va desarrollandos.e de un modo seguro alentada por los importantes premios concedidos para las peliculas extraordinarias Locura de Amor, Don Juan de Serrcdlonga, Mar e Nostrum, Virgen Santa y otras que obtuvieron un senalado éxilo en Espana y en el extranjero. De este hecho se desprende que paulativamente nuestra producciôn se va abriendo paso muy especialmente en los mercados de la américa latina donde se habla nuestro idioma y en los cuales predominan las producciones americanas, que debido a las dificultades originadas por el ültimo conflicto mundial, obligé à la mayoria de los productores â limitai’ ô a suspender definitiva 6 temporalmente sus producciones. En Espana se trabaja y se producen muy buenas peliculas. per moment will form the subjeet of another special article. Until now the Frencli films released by these agencies in London (« Le Secret de Mayerling », « Bagarres », « Le Grand Balcon », « Entre Onze Heures et Minuit », « Les Maudits », « Martin Roumagnac ») bave not made on the British public an impact which would hâve been commensurate with their value and with lhe amonnt of energy put into preparatory Work by Georges Arnull on the one hand by Raymond Cravenne on the otlier There was one notable exception with lhe présentation of « Les Amants de Vérone », which has become a favourite botli with the press and the public. The very well organised gala première with the Personal appearance of Anouk, Serge Règgiani and Trevor Howard has given this excellent picture the publicity il deserved. The « Blue Ribbon Films » responsible for this success liave plans now to introduce French films with dubbed English dialogue to the British screen. This had been tried before with pictures like « La Gage aux Rossignols », « Jéricho », « Garnie n » and others, but without great success. It must be realised that dubbed continental films hâve to appeal not lo those spectators who frequent the « Continental Cinémas » now, but to an entirely different class of the population, to a public completely ignorant of French actors, French directors, even the French background. Therefore a very considérable amount of preparatory and publicity work is necessary to ensure the success of the experiment, which in any case cannot be expected to yield a satislactory financial resuit immediately. Ail the more récognition is due to the planners and their spirit of enterprise. Every friend of the French cinéma will whole-heartedly wisli them good luck in this courageous attempt to conquer a difficult market. François Koval. par Hermelando CHOIMET Para darse cuenta de la importancia que va adquiriendo la producciôn en Espana, hasta consignar que la prôxima pelicula que dirigirâ Juan de Orduna, titulada « Amaya » tendra un presupuesto que n< bajarâ de los diez millones de pesetas, cuando precisamente las • peliculas realizadas en Espana no solian rebasar los cinco P;quita Greco et José Greco dans une des scènes caractéristiques du grand film espagnol MANOLETE. (Cliché Pajares.) millones. Los Estudios de Barcelona-Kinofôn, Orphea-Emisora Trilla y los de Madrid, Roptence, Chamartin y Sevilla; eslân trabajando continuamente y una vez terminada una pelicula, seguidamente se empieza otra, asi vemos por ejemplo que Esteia Films que esta terminando su primera pror ducciôn en colores por el sistema « cinefotocolor », seguidamente se dispone a iniciar otra cinta de dibujos en colores. Actualmente se esta proyectando en el Cine Cristina, la producciôn Tempestad en el Aima, interpretada por Miryam Day, José Bôdalo y Eduardo Fajardo, dirigida por Juan de Orduna. En el Cine Kursaal, que tambien es un cine de primer orden, se esta proyectando die riguroso estreno la comedia Mi Adorado Juan de la que es productor, direetor y autor del argumente Jerônimo Mihura, interpretaciôn de Conchita Montes y Conrado San Martin y otros En Barcelona (Capital) existen 125 cinés entre los cuales hay 15 que proyectan peliculas de riguroso estreno, y estos son el Alexandra, Astoria, Atlanta, Avenida de la Luz, Capitol, Coliseum, Cristina, Fantasio, Fémina, Kursaal, Metropol, Montecarlo, Paris, Pelayo, Tivoli y Windsor, todos ellos montados con todo el confort deseable por el püblico mas exigente. La producciôn francesa estrenada en 1949, fué la siguiente : Faniômas, Madame Sans-Gêne, Fahtomas contra Faut à mas, Los