Motion Picture Herald (Mar-Apr 1937)

April 17, 193 7 MOTION PICTURE HERALD 25 NAZIS, ITALY AND JAPAN ALLIED FOR FILM XWAR' Italo-German Agreement Pledges Exchange of Films and "Cultural Cooperation"; Similar Arrangement with Tokyo An international motion picture trade "war" is in the making. Germany fired the first salvo this week by moving to form a film bloc made up of the Nazis' "ideological" allies for propagandistic and "cultural" cooperation to fight their most powerful rival, Hollywood, and all "liberal" and communistic motion picture influences of the world. Italy and Japan are the first two countries to ratify the film alliance with Germany; Austria and France have had motion picture trade pacts in existence with the Nazis for some time. The Nazis' strong determination to maintain absolute control over the motion picture contents on Germany's screens was further evidenced this week by a warning to Hollywood against "detrimental" films and the cutting of Papal scenes from an Italo-German cooperative film. Germany moved three weeks ago to take complete control of the motion picture business in that country, Dr. Joseph Goebbels, Minister of Propaganda, assuming a dictatorship to make certain that German-made films hereafter serve the Nazis as propaganda. Less severe blows at Hollywood product were forthcoming this week from both England and France, with bans on "cruel" animal films in England and on "gangster films" in France, both aimed at American studios. U. S. Industry "Uninformed" The American motion picture industry's official foreign representation in the Motion Picture Producers and Distributors of America had not been officially informed of the Nazis' formation of an international film bloc against Hollywood, principally, and other foreign film industries. It is not believed, however, that the bloc was intended to force its films on the United States under a reciprocal agreement, for American distributors long since despaired of doing any substantial business in Germany. The basic intention appeared to be to gain for German films some of the ground lost in Europe under the regime of Adolph Hitler, Germany's film sales having dropped from 22,000,000 marks in 1930 to 12,000,000 marks in 1932 and 4.000,000 marks in 1936. The bloc, then, would unite its strength to shut out films of non-participating countries, particularly Hollywood's product. In addition there is the obvious intention of furthering propagandist^ material of the participants, what with Germany's absolute control of the contents of German films, Italy's strong influence over product made within its borders and the strict surveillance by Tokyo over pictures produced in Japan. First concrete action in the impending international film clouds came last Sunday when the Italo-German film treaty was signed in Berlin. Japan's part in the alliance also was noted. "For the first time photoplay relations entered the official realm of international diplomacy," wirelessed the New York Times correspondent. "Luigi Freddi, director of the film depart USING FILM TO HELP GERMAN REFUGEES Dr. Harry Emerson Fosdick, pastor of the Riverside Church, New York, appeals for a $400,000 fund for Christian refugees from Germany in a sound film entitled "Modern Christian German Martyrs," which had its first showing Monday night before 2,000 persons in the church auditorium on Riverside Drive. The picture consists of Dr. Fosdick's address and a brief introduction by James G. McDonald, former high commissioner of the League of Nations Commission for Refugees from Germany. It will be distributed to cities where local sponsoring committees can be formed. No admission charge is contemplated, but a collection will be made at each performance, the proceeds to be used in finding a haven for the 14,000 to 15,000 Christian families said to be suffering "cruel persecution" in Nazi Germany, according to the New York Herald Tribune. No actual scenes of refugees were filmed. It was explained that such scenes might result in diplomatic protests. ment of the Italian Propaganda Ministry, represented Italy, and the president of the Reich Film Chamber, Dr. Lenich, represented Germany. The treaty now will be submitted to the governments for formal ratification. Later a complementary agreement will be shown." This second agreement probably will stipulate the full details of the arrangement. _ Although there was no official aiming at motion pictures from the United States, the Times dispatch added that "the new bloc's most powerful rival is the Hollywood film industry." "Germany and Italy agreed to cultural cooperation in films and pledged the exchange of films and further distribution of products of their film industries in their respective markets," continued the correspondent. "The communique issued today (Sunday) does not indicate the number of films each country has agreed to accept annually. "At the same time a less formal film alliance with Japan was announced. The government controlled film company, Tobis, reached an agreement with the Japanese Tobis — Cocco Tobis Nippon — by which a considerable number of German films are guaranteed distribution in the Japanese film market annually. Cocco Tobis Nippon is the newly organized general agency for Tobis in the Far East. It is associated in Japan with the Asahi company, the largest Japanese newspaper and periodical publishing house. "An agreement is under negotiation by which the German film industry will cooperate with the Kawaki group which operates a studio in Kyoto. Tobis has already presented in Berlin German Consul in Los Angeles, in Second Censorial Action in Hollywood, Warns Production Staff of "The Road Back" one German-Japanese cooperative film, Daughter of the Samurai.' "The German film press and spokesmen of the Propaganda Ministry and film industry make no secret of the intention of Dr. Joseph Goebbels, Propaganda Minister, to build up an international film bloc made up of Germany's ideological allies," he said. "The treaty with Italy and the cooperative agreements with Japan are based not only on the idea of economic cooperation but more especially for propagandist and cultural cooperation to fight 'liberal' and communist influences." Motion pictures were said to be regarded in Berlin, "as in Italy, as a propaganda weapon of major importance. Unable to achieve much in Western European and American markets, the Propaganda Minister turned to the idea of film alliances with countries sympathizing with National Socialist ideas." "International" Film Congress Germany also announced "an international film congress" to be held in Paris from June 7th to 12th. An official Nazi announcement received in New York from Berlin this week, issued by "The German Film Industry, Berlin W3S, Bendlerstr, 10," said of the contemplated "congress" that "the Preparatory Committee includes, besides Frenchmen as hosts, a representative of Germany and one of Italy." The announcement added that Germany will exert strong influence over the existing International Film Chamber, for establishment of an "economic committee," under the chairmanship of Director Meydam, of German UfaFilms. Also, the International Chamber's committee on copyrights, it was said, henceforth will be known as the "committee on film law," under the direction of Doctor Rober, of Germany, "whose memorandum was universally recognized as a practical basis for the work of the committee." French and Austrian Pacts Germany's new agreements with Italy and Japan actually constitute the third and fourth important film pacts with big nations. Early last July a special agreement was completed between France and Germany, providing for free importation of films originating in either country. It is a one-year agreement, effective from June 1, 1936, both governments intending to discuss the formulation of new regulations at the expiration of this agreement. Such a discussion is now due, and it is considered quite likely that it will turn to French participation in the Nazis' new international film bloc now in the making. Germany and Austria effected an agreement on July 1, 1936, to run through July 1, 1939. Principally involved was an exchange of films. Germany this week again went to the source of American motion pictures, Hollywood, to protest against American productions which appear to Germany to be "detrimental to German prestige." In July, 1936, Dr. George Gyssling, German Consul in Los Angeles, had sent written notice to Alfred Mannon, the producer : Isobel Lillian Steele, the author, and others involved in Malvina Pictures' "I Was a Captive of Nazi