Motion Picture Herald (Oct-Dec 1951)

SEE SNAGS IN FRENCH TALKS by HENRY KAHN in Paris French production in 1951 is expected to total around 90 features, and in 1952 that figure probably will come down to 50. These figures have been confirmed by a spokesman for the Producers’ Syndicate, who also hinted they might be used as a weapon in the final talks with the U. S. next year. In spite of the optimism expressed in certain quarters on both sides, there is a feeling here that the Americans will be asked to reduce the number of visas rather than to expect to increase tlrem. This follows in the wake of the explanation by Bernard Kreisler ot the MPAA’s Advisory Unit for Foreign Films on how the unit could help French producers. The latter frankly don’t expect very much to come out of the unit despite Mr. Kreisler's optimism. They agree that French films cannot be forced into the circuits, but they are equally certain that with the best will in the world the Americans must, nevertheless, feel uneasy about letting foreign films into the U. S. in large numbers. No matter which way one looks at it, such films must compete with the American product. Asks Central Office M. Fournier of the Syndicate says a central distributing office for French films in the U. S. is the only answer to the problem, but setting up such an office is unlikely for the moment. Nor is it likely to be set up before the Franco-U. S. talks are resumed. There is a growing feeling here, even among the friends of America, that U. S. imports are a threat to the French industry, and that growing unemployment among technicians will force the French to take a strong line when talks with the Americans reopen next April. M. Fournier admitted he found nothing wrong with the Communist plan for the development of an exchange of films between France and Eastern Europe. “We are losing faith in the Anglo-Saxon countries,” he said. He also maintained that at least one-third of the American films shown in France lose money. “The Americans,” he said, “think more of their prestige than they do of statistics. If they were to study them they would see that they could make more money by sending fewer films than they are making by sending a full quota.” V The French Film Confederation has set up a special committee to discuss whether films made since 1946 should be permitted on television. The committee was set up after a meeting between the television committee and the Confederation. The TV spokesmen held that films less than five years old should be shown if they had run their commercial course. Television also asked for trailers which it was said would help the theatres. V Small exhilhtors, at their annual convention here, complained about being left out in the cold by the rest of the profession. They do not receive grants from the Aid Fund and therefore cannot afford to redecorate their houses. They have stated that, if they are to be exempted from paying special tax, they will not expect to receive aid. INDIA by V. DORAISWAMY in Bombay The first All-India Cine Technicians Conference was held recently in Madras with delegates from all over India attending. Several problems affecting not only the technicians but also the industry as a whole were discussed. Emphasis was on the necessity for research and development. The conference pleaded for the formation of a Film Academy to train technicians and it was also suggested that the academy could be affiliated with universities and similar institutions in the U. S. and other places. There was criticism regarding the absence of any provision for development of the film industry under the national Five Year Plan outlined by the National Planning Commission, despite the fact that the Indian film industry is the second largest in the world. The conference decided to create a standing committee with the object of promoting and advancing the position of the cine technicians and providing them with a common platform for the mutual exchange of views and ideals. V The International Film Festival will be held in Bombay during the first week of December, C. M. Agarwala, chairman of the Central Censor Board, has announced. Mr. Agarwala said more than 25 of the world’s major film producing countries have been invited along with many prominent personalities. Every country which produced 30 pictures a year will be allowed to present one film and two documentaries to the festival. India will be allowed to present her best four films made during 1950-1951. AUSTRALIA by FRANK O'CONNEL’l in Sydney Hoyts Theatres now has acquired a substantial financial interest in the Ozone circuit which is rmi by the Waterman Brothers in South Australia, N.S.A. and Victoria. The deal adds 24 theatres — most of them in the Adelaide suburbs — to the Hoyts circuit. A joint announcement by Ernest Turn bull, managing director of Hoyts, and Clyde Waterman says that the Ozone group of theatres will be conducted by Hoyts-Ozone Theatres Corp., Ltd. The new board of directors is comprised of Ernest Turnbull, John C. Glass, general manager of Hoyts, G. A. McPhee, general secretary of Hoyts, and Clyde, Donald and Keith Waterman. Not included in the deal are the Waterman theatres in Broken Hill, N.S.W., Mt. Gambier, S.A. and the York Adelaide. Hoyts-Ozone will operate as a separate entity and the administrative head office will be situated at York House in Adelaide. V The Greater Union group has made a consolidated net profit of £150,796 for the year ended December 31, 1950. This is a slight increase over the previous year and constitutes a new record for the company. The balance sheet shows that the consolidated net profit is arrived at after apportioning £30,501 to “outside shareholders” out of a total consolidated profit of £181,297. Dividerfds again total £100,000. The four Australian holding companies receive £62,500 and the remaining £37,500 goes to the Rank Organization. V Considerable controversy rages over the screening of Sunday films at the Kings Cross Theatrette and the Premier theatre, Surry Hills. The operators union and the exhibitor body remain firmly hostile. Latest developments have been the serving of summonses on Ken Cook, operator of the Kings Cross house, and Naton Sheinwald, importer of foreign films who supplied the programs to Mr. Cook. The union charges these men with violating the Sunday Observance Act. YUGOSLAVIA by STOJAN BRALOVIC in Belgrade Much excitement was created here recently when the Republic of Serbia fired the only Yugoslav film star, Ita Rina, because its film directors “do not have confidence in her work.” Miss Rina starred in 17 German, French, Austrian and Czechoslovak films between 1926 and 1939. She claims that no film director even tried her in any role for all of the two years she was employed by Avala film producing company and that the one film in which she was scheduled for a major role did not materialize due to financial difficulties. The Rina case has aroused much controversy here, culminating in sharp attacks in the press. V Borba, the official organ of the Yugoslav Communist Party, has attacked waste in film production in connection with the film “Major Scarecrow” which cost six and a half million dollars to make. The paper charged it took close to a year to complete the feature and that many scenes were done over three and four times over, utilizing a great deal of real food and wine “props.” The director of the picture, Nikola Popovic, was paid $16,620 for the job. 34d MOTION PICTURE HERALD. NOVEMBER 24, I95|