Motion Picture Herald (Dec 1933–Mar 1934)

38 MOTION PICTURE HERALD January 27, 1934 GERMAN MARKET HELD CHALLENGE TO WIDEAWAKE U. S. COMPANIES One Solution Seen in Reducing Quantity of Filnn Exports, While Improving Quality; Understanding of Needs Urged [ By Special Berlin Correspondence ] The German market has always been a trying one for the American trade. This is not only admitted by George R. Canty, trade commissioner for film affairs in Central Europe, but also by any other representative of the American film companies in Germany. The German kontingent, in its inception, was aimed directly to defeat the possibility of any material progress of foreign film interests in Germany ; it was so skilfully drawn up that it reduced this market for American film product to one of limited possibilities, and then only by dint of the hardest kind of effort. The advent of the talking picture, which in itself created a sufficient barrier to foreign film distribution, had the further effect of rendering the distribution of American pictures profitless, save in the case of really exceptional films. Reconstruction of the film industry under the Hitler Government, whereby authority is centralized in the Film Chamber, whereby waste and lost motion are automatically eliminated, and only the serious minded are permitted to remain in the film trade, seemed at first to offer a brighter future for the American companies. This was not to be, however, for the official rearrangement which restricted exhibitors to single-feature programs cost the American trade its regular source of revenue from second-feature bookings on double bills, of their English talkers with superimposed titles in German, and dubbed versions. Though the law recently has been amended permitting the showing of films in a length not exceeding 1,600 meters as second features, this will prove of little benefit to the American companies inasmuch as too few American films can be reduced to this size (1,600 meters equal to 5,240 feet) and still do justice to their entertainment content. This hits the American film in the provinces particularly hard, as there many foreign pictures have been shown as second feature. Admission Price Law Helps There is one law, however, which seems to help in the distribution of American made films in Germany: it is the regulation of admission prices. It prevents sharp competition between various exhibitors, and guarantees a steady income for the renting company. It is obvious that in almost every country the fans who prefer key theatres are different from the public which attends minor halls. There is sometimes unjust bias against foreign made films among the patrons of the key theatres. The rest of WELLS' FIRST FILM TO DEPICT FUTURE True to his imaginative form, H. G. Wells has decided to produce, as his first jiiotion picture, a visualization of civilization 150 years from now. He remarked in London this tueek, after seeing Universal's version of his "The Invisible Man," that he believed^ a wonderful picture should result from a glance into the future. The new film, ivhich will depict an era in which the machine will be dominant, will be produced at the Elstree Studios in collaboration with Alexander Korda, who directed "The Private Life of Heftry VIIL" About £60,000 is to be spent. A suggested title is "Whither Mankind." the population is free from any such prejudice. Some days ago a German film renting company started distribution of a sensational American trick film, not in a big hall, but in 30 minor cinemas in Berlin and 15 houses in the province. The first reports on attendance showed a big success, indicating the best hope for American companies rests in unusual methods. Reasons for Reduced Markets Everybody knows that the American film companies did a lot to uphold their prestige in the foreign countries and that they maintained their offices under the most strenuous and difficult conditions. It is not their fault that the prospects for their films in other countries have declined more and more. In some cases it was the intention of the Governments to curtail the predominance of American films. In other cases it was the arrival of the talking picture and the lack of a sufficiently good dubbing method. And, last but not least, this diminution in popularity of American films abroad was due to the inability of some foreign managers to judge the necessities and peculiar situations. It has often been declared, and quite a number of cases are available to prove the truth of this statement, that for every country one category of pictures or another is unsuitable for distribution. We have seen exceptionally good American films in Germany and, sorry to say, very poor pictures, spoiling the high standard of the American film Industry. Films have been shown here which, after a run of three or four weeks, disappeared and did not even bring In their distribution costs and the fees for Importation. It is unwise to bring films into countries only because they have not yet been written off Ih the country of origin. They are spoiling the exploitation value of other films and will only increase the distribution costs of tlie renter. American trade representatives Restricting Progranns to One Feature Declared Blow to CompaniesWhichHad Source of Revenue in Double Bills in Germany have been asked, "Why don't you bring us more pictures like 'Hell Divers' and 'Bring 'Em Back Alive,' " with much action and little dialogue. Instead of complying with the particular demands of the German market, the country has been overstocked with films which have not been very successful. Wouldn't it be wiser to export fewer pictures but more successful ones to Germany instead of increasing the number of films and reducing at the same time their box-office value? German-French Accord Take the German-French film relations as an example. These two countries with a considerable film industry have always been eager to enlarge their mutual film exchange. And yet the' number of French pictures distributed throughout Germany has always been a very smajl one. But the career of French pictures in Germany has, in most cases, been very successful. I refer to pictures like "Sous les Toits de Paris," "Le Million" and "La Maternelle." The fact that German and French film producers for many years have created a so-called "Gemeinschaftsproduktion" (joint production) has doubtless facilitated the signing of the French-German film pact. Both these countries are aware that the dubbing of pictures is not sufficient to create and maintain steady and successful film relations. There is a constant exchange of stars and directors between Paris and Berlin. The French and the German film industry are connected by so many channels that the film pact is nothing but the natural outlet for these relations. This film agreement, for the first time In the history of the film relations between both countries, has been signed by the diplomatic leaders of each country and, viewed from the American standpoint, is nothing but a preferential treatment of French films in Germany and vice versa. What will American film companies do under these circumstances? Leave things as they are and lose ground more and more in Germany, finally leading to a withdrawal from the German market, as has been the case in Czechoslovakia? Or try to obtain the same treatment? Czechoslovakia has 1,900 theatres with almost 50 per cent silent houses. A loss of this market is, therefore, not so important for American film companies, although discussions and conferences between the Czech Government and U. S. trade commissioners were held for more than a year. But Germany has more than 5,000 cinemas, 3,800 of them wired. A reduction of this market would lead to a considerable weakening of the American film position in Europe.