Motion Picture Herald (Oct-Dec 1956)

VIEWS OF LEADERS OVERSEAS ( Continued from page 28) application of completely different standards of definition. Commercial necessity makes the production of a true “art” film difficult. What remains, however, is the endeavor to achieve the valuable artistic film, the content and form of which are determined by genuine ethics and harmony, but without neglecting the need of entertainment for the public. by CLEMENTE LOCOCO Owner, Opera Theafre, Buenos Aires ' a I It would be a silly thing to say that the best pictures are those which are based on a good book, assemble a multi-star cast, a great director, magnificent color and all the technical advances in the modern industry. Late experiences reveal clearly that moviegoers have a preference for those films which take them, from their seats, on a trip all over the world. When a picture reflects a place as it is, its habits, its legends and its typical people, it will be a success in the country of origin and in the rest of the world. As examples I will mention “Summertime” and “Three Coins in the Fountain,” American-made films of foreign locales. The landscapes in some films, shown by means of “back projection,” and characters transplanted from one country to another by the story, don’t present a great attraction, they merely show good photographic techniques. by MARIO AUDRA, JR. President, Cinematografica Maristela S.A. Audience tastes change under the influence of two equally strong forces: saturation by one type of picture, which happens when the market is flooded by films seeking to imitate a recent success, and the crystallization of a film style which reflects the national development of the country. There is little doubt that new techniques have brought new means of expression, but they must be used intelligently. Each type of film should be done in the process which will best express its theme and story. The old black-and-white process still has great advantages in that it has a lower cost and technically it does provide a greater quality of drama to certain kinds of films. The epic drama is undoubtedly the subject which most interests the audiences of our country. There is also a high acceptance of juvenile comedy and adult drama. by LOUIS ELLIMAN Managing director, Odeon, Ltd., Ireland Our experience indicates that our market can now absorb about 12 super pictures per year for successful extended runs. Any substantial increase in the number might tend to lessen their extra drawing power and value. Of course, these have to be supported by a steady supply of competent bread-and-butter features. Amongst the latter we find that the taste is now for light comedy. Westerns, for example, have practically no appeal. In the bigger films, we feel that the audiences like to be taken to other places. They favor the travel aspect and interesting locations. The new type of musical, which includes a strong story as well as spectacle, is being well supported. The old idea here that British films were inferior is completely gone. The public here now welcome them strongly and they are giving increasingly greater support to Continental films. by DINO DE LAURENTIIS Producer, Italy Any change in the public taste is directly proportional to the development and general shape of events in any given historical period. It is also directly proportional to the effect of such events on people’s ways of thinking and living, even though such processes may not be perceived by the public. I firmly believe that a producer’s greatest ability lies in quickly spotting the new taste trends determined by such events and changes, discovering the new preferences of the public and their new viewpoints for judging a film. Many producers today — in America more than in any other country — seem to believe it is the film show that must influence the public, and that in the end it is the show which will impose a certain fashion, taste, psychological or moral style upon the public. Sufficient proofs lie in the “star” phenomenon, wherein large groups of impressionable filmgoers imitated the dress, manner and even moral attitudes depicted by an idol on the motion picture screen. Today’s filmgoer looks to find himself in the show. He is not satisfied by a show that is merely entertainment. He seeks the things that interest him in his real existence — contents, problems, solutions and discussions of life’s course. It seems, therefore, a great mistake on the part of many producers, particularly those of Hollywood’s “old school,” to follow abused lines and to use standard gags and situations which have long lost their power of attraction. Therefore, also in view of beating TV’s competition, the best system seems to be that of conducting picture production on an essentially artistic basis and within the field of ideas. I have said that it would be a good idea to get some European talent, such as writers, playwrights and directors, into American production as a means of injecting fresh blood and energy into an organization by no means ill or constitutionally imperfect but undoubtedly impoverished and anemic. by ALEJANDRO CORDERO Owner, Gran Rex Theatre, Buenos Aires Over 20 years as an exhibitor in a vast chain of theatres permits me to appreciate the changes which have taken place in public preferences for films. In my opinion, the action films — those of great violence and brutality — are undoubtedly the greatest attractions, regardless of the story content or the setting. Unfortunately, this predilection on the part of the public does not speak well of the culture. Films that depict social problems of our time in crude — and violent — form, are also in great popularity with a major segment of the audience. These productions, which do have some artistic quality, deserve to be nurtured. In recent years, an exaggerated tendency toward sex has been noticeable, especially in pictures from Europe. These are attracting large audiences, but I don’t believe this trend should be allowed to spread. With reference to musical productions, I have noted a decided taste in the public for outstanding musical pictures, using ( Continued on page 32) 30 WORLD MARKET