Motion Picture Herald (Mar-Apr 1940)

28 MOTION PICTU RE HERALD April 6, I 940 U.S. SEES HIGH FILM STANDARDS OFFSETTING LOSSES FROM THE WAR Need for Close Attention to Changing Conditions and Film Tastes Are Greatest in Decade, Says U. S. Bureau The United States Government this week advised Hollywood and its production and corporate officers that "not for decades has there been such an imperative need, with respect to our foreign markets, for incessant watchfulness, keen scrutiny of the changing scene, quick appraisal of new developments and modifications, a shrewd 'keeping in touch' with everything that happens, and an alert readiness to take advantage of all openings," as a result of the changing scene, both commercially and artistically, brought about by the upset conditions of the world. Sees Ultimate Gains The Government credits the industry with productions of a new high quality, "which, in certain outstanding instances, is now mounting to unprecedented heights," and "surely witt help our pictures abroad as well as at home."_ In the domestic market, it is said, "such achievements will compensate for any foreign losses — and, regardless of wars, they may win such favor abroad that the losses will be followed by gains." The foregoing, basically, are foreign market prospects, on the basis of events of 1939, reported to the industry by Nathan D. Golden, Chief of the Motion Picture Division of the U. S. Bureau of Foreign and Domestic Commerce. They were founded upon formal and official disclosures made to Washington by the various consular officers, commercial attaches and others of the commercial diplomatic corps stationed in the world's capitals. Lighter Themes Wanted The Government finds that "the shocks and repercussions from the European outbreak proved eventually much less devastating than had been feared at first." It does note many new stringencies of censorship and taxation, and it foresees a possibility that post-war conditions will curtail and hamper operation in the affected countries. It has found a demand, even governmental insistence, that sad and morose film subjects be supplanted by light and entertaining films. Showings of American films abroad rose 2 per cent from the 65 per cent of the total in 1938 to 67 per cent in 1939, the Bureau reports, but says the dollars-and-cents return for American pictures since the outbreak of the war has fallen by perhaps 10 per cent. Foreign exchange it calls the major problem. It sees some possible "favorable shifts" in world markets aiding Hollywood and growing out of the war in Europe, pointing notably in this connection to Latin America, where "there would appear to be a promising field for expansion for Hollywood." Admissions in December 1939 and for the first two months of 1940, for all of Great Britain, were down about 10 per cent, with the London-area attendance curtailed by as much as 20 per cent, says the report. In Belgium the weekday attendance was 35 per cent below normal at the end of 1939, with the weekend receipts 15 to 20 per cent lower than usual. In neutral countries close attention is being given motion pictures lest their contents enhance the danger of embroilment. "Thus any act, word, scene, or even facial semblance that Decrease of Sound Film Exports Shown in Two -Year Comparison The following table shows the decrease in exports of American negative and positive sound films for the years 1939 and 193 8; Negative— > 1939 > Percentage > 1938 * Sound Feet Value Change Feet Value Positive— 8,079,437 $ 339,602 — 4.9% 8,498,012 $ 300,351 Sound 152,502,878 3,061,055 —18.3% 186,739,117 3,968,467 Total 160,582,315 $3,400,657 —17.8% 195,237,129 $4,268,818 might have the faintest likelihood of offending a belligerent, became utterly taboo in certain countries." "In one European country we find a feature production summarily banned and banished because someone had imagined that he detected a resemblance, in the visage of one of the characters, to the foreign minister of a major power. Films have been banned, right and left, because they were alleged to contain concealed propaganda. "In another country, farther away from the conflict, film importers were recently notified by the police that news reels connected in any way with the war or with belligerent countries must not even be submitted or approval, and special police regulations prohibit audiences from expressing approval or disapproval 'of any film shown'." Production Competition "When the war first broke out, all production plans in England came to a complete standstill. By the end of 1939 a new and more auspicious situation was apparent. It then seemed probable that British production during the first six months of 1940 will be well maintained. The pictures made may be fewer, but present plans indicate that a higher proportion of the production may be of pictures of a type suitable for international distribution. "In France, too, we have witnessed a gradual approach, during recent months, toward conditions more nearly resembling the preSeptember status. "It is reliably reported that the number of features turned out by the German studios in 1939 was considerably higher than the figure for 1938. Manifestly, the war has not choked or curtailed German production, but a variety of potent factors are decreasing greatly the exportation of Reich pictures to world markets. "Non-belligerent Italy, with its modern facilities and ambitious program at Cinecitta, is going ahead boldly, the war apparently acting as a stimulus, if anything. In 1939 the number of Italian films produced advanced to about 90 as against only 35 to 47 in former years." The Bureau adds this : "The war-created shipping difficulties and production curtailment in Britain and France have made foreign nations which formerly relied upon England, France, and Germany for a certain proportion of their films dependent upon the United States to a vastly greater degree. And, the longer hostilities last, and the more intense they grow, the more dependent will the entire world become upon our American pictures for its screen entertainment. This is particularly true in Latin America and the Far East. Even Britain and France themselves are today desiring a somewhat increased number of American pictures. France has abolished its quota limiting the number of American films entering the French market, and Britain, while maintaining its quota law, has made significant concessions in the matter of transferring to the United States the funds representing American pictures exhibited in the British market." Changing "Tastes" "The war has already brought about a marked change in 'film tastes' in the belligerent countries," it is noted. "Where during normal times the best revenue pictures were those with historical and romantic subjects, there is now a keen desire for pictures such as comedies, mystery stories, or any kind of light but engrossing entertainment that is likely to afford escape from wartime anxieties. In some markets of the warring nations, sad and morose scenes are actually barred by censorship boards. Exhibitors in some markets are taking pains to emphasize in their advertisements the cheerful and enlivening character of their programs. It goes without saying that our American producers and distributors are preeminently well equipped to supply films that will satisfy these tastes which are now dominant throughout great regions of the earth." Legislative Restrictions Significant developments in 1939, especially in Europe, in legislative restrictions included the following : In Estonia, a quota limiting the number of foreign films is set at 195 from March 1939 to July 1, 1940. Of this amount the American share has been reduced from 60 to 30 films by reason of a scarcity of available dollar exchange. Finland requires a permit to import American films. Plans in Hungary call for a quota law which will reduce the importation of American films by 50 per cent. Importation into Greece was put upon an annual global import quota on Aug. 1, 1939. This quota totals 370 features. On Jan. 22, 1940, the Italian Council of Ministers presented to the Italian Parliament the text for establishment of a new body to carry on the management of the film monopoly created in September, 1938. This contemplated decree eliminates the commercial organization ENIC from connection with the Monopoly, and the latter's functions are entrusted to a bodv