Motion Picture News (Jan-Feb 1922)

.January 14, 1922 503 SIIIIIIIIIIIIIIIIIIH Illlllillllllil llllllll Illlllllllialllllllllllll! mill lllllllllllllll :|. .,, .'11 :, :h, liillllimill nulling The Motion Picture Industry in Japan | iiiiiiiiiiiiiiiiiiiiDiiBiiiiiiiiiiiiniiiiiiiiiimiiiiiimiiffli* AN article written by Martin G. Scott, clerk to the Trade Commissioner, Tokyo, for the December 26th issue of Commerce Reports gives an interesting account of the film industry in Japan as viewed from the trade angle. According to Mr. Scott’s article, there are in Japan at the present time about 600 theatres giving regular performances and about 2,000 giving occasional showings. Of the 600 regular houses, 50 are in Tokyo, 30 in Osaka, and the remainder scattered throughout the country. The seating capacities run from 500 to 1,800. The low admission prices in most places, however, entitle one merely to standing room. Of the 600 houses referred to above, the Nippon Katsudoshashin Kabushiki Kaisha owns or controls about 350. This is by far the largest moving picture company in the Empire. It also operates two studios with a force of 100 actors and 50 cameramen, directors, etc. Are films popular? Mr. Scott says Tokyo’s 50 houses play to over 10,000,000 people annually, while the 20 “ legit ” houses play to less than half that number, despite their larger seating capacities. He adds, however, that there has been “ no such desertion by actors of the stage for the film as in America, probably on account of the intense pride which the Japanese actor takes in his profession.” The average admission price, says Mr. Scott, is about 50 sen (25 cents). Public Lectures on Censorship in N. Y. Schools HE New York public is going to ; learn a lot about motion picture •* censorship during January and February. In the lecture rooms of many high schools, the subject will be discussed both pro and con by the most prominent advocates and opponents of legalized screen control. Through an arrangement between the Board of Education of the City of New York and the National Association of the Motion Picture Industry, William A. Brady, president of the National Association, D. W. Griffith and Paul H. Cromlin, the prominent film exporter, will speak against censorship in several high schools in Brooklyn, Manhattan and the Bronx between January 12 and February 27. At each of these lectures there will be shown a model motion picture program donated, for this purpose, by producer members of the National Association. These lectures will not take the form of debates. Although the advocates of censorship will also speak under the auspices of the Board of Education, the dates to be assigned them, however, will not conflict with the appearance of the motion-picture men. Among the champions of censorship who will seek to justify legalized screen control are Mrs. Clarence Waterman, Canon William S. Chase and Frederick Boyd Stevenson. Joseph Levenson, secretary of the New York State Motion Picture Commission, will be another speaker. Buffalo F.I.L.M. Club to Fight “Switching” Evil THREE Syracuse theatres have been forced to put up deposits of $300 each as a guarantee against switching films. Representatives of the three houses appeared before the joint arbitration committee of the F. I. L. M. Club of Buffalo, pleaded guilty to the charge, it is reported, and were each forced to place the above amount, which will be forfeit if discovered switching. The club is determined to stamp out this evil and now has paid agents at work in several cities, where switching is suspected. The entire territory will be covered. E. O. Weinberg, manager of the MarkStrand in Buffalo, and Sidney C. Allen, manager of the Scenic theatre in Medina, N. Y., have been appointed members of the joint arbitration committee, succeeding Judge John W. Schatt of Fredonia and J. H. Michael of the Regent, Buffalo, respectively. Plans are being discussed for a joint meeting of the Buffalo and Albany F. I. L. M. clubs to be held in Syracuse sometime this month. American cameras are very popular, though French and German makes are also used. The Japanese have so far been unable to turn out a satisfactory camera. Onn the other hand, the majority of projection machines used are of a domestic make, Japanese exhibitors declaring they cannot afford the American machines, though admitting their superiority. American films practically dominate the market. The Japanese producers are following more and more the foreign style of plot with more action and less posturing. American companies are advised by Mr. Scott to take special precautions against pirating of films, which practice seems to be quite prevalent. Mr. Scott also makes the following useful suggestions : “ Imported machines and accessories are subject to a duty of 50 per cent, and it is complained that the customs have a habit of placing their own valuations on the machines. In regard to importations, dealers here state that where discounts are allowed it is advisable that a statement signed’ by an official of the exporting company accompany the shipment stating the reasons for which the discount is allowed. Otherwise the customs often will not allow it. This, of course, also applies to other goods in this line. “ As a nile, individual theatres rent their films from one of the larger companies, which supply them with enough film to make up a complete bill, and programs are changed weekly. The rental charge varies widely, running from $100 to $600 per month, depending on the theatre and the class of film shown. For special films an extra charge is usually made. The programs are long. Those for the better class theatres will include two pictures of about six reels (sometimes both foreign, sometimes one, while some theatres show exclusively Japanese films), a weekly news letter, a comedy, and two or three episodes of a serial film (usually an exciting melodrama). The trust states that for a first-class foreign film they often secure $200 per week, and for individual performances from $25 to $35. The larger Japanese companies usually buy their films outright and then supply them to their different theatres. Films are dutiable at 8.25 yen per kin ($3.10 per pound), including inner packing. I A Reply to Taylor on I " Expensive Music" Editor Motion Picture News: Dear Sir: In your issue of December 17th I noticed a highly interesting letter by William D. Taylor, president of the Motion Picture Directors’ Association. This letter is likely to have a far-reaching effect in its appeal, but I hope managers are not going to act rashly on the advice, particularly in connection with orchestras, tras. Orchestras of 70, 60, 50, 40, or even 30 and 20 pieces may be far too expensive items for a picture house, but the danger is likely to hit those houses using 10 or 12 pieces or even less, where the manager, taking an excuse from Mr. Taylor's letter, is going to reduce his 10-piece orchestra to eight pieces, and his eight-piece orchestra to six pieces, his six to four, and so on. Orchestras from 10 to 18 pieces are capable of giving the picture an artistic interpretation, and it is a mistake — a great mistake — to “ jew ” your production to the last cent for the mere sake of gaining the pound of flesh, which you don’t get in the end through false economy. Overelaborate prologues, vaudeville stunts which are out of place, and overstocked* orchestras might be well looked into. But a sufficient number of instruments to render artistic effects is absolutely necessary. Yours truly, Leslie Grossmith, Musical Director of Capitol Theatre, Victoria, B. C. Harry Reichenbach to Join Paramount* s Staff Harry reichenbach, who has been handling the special exploitation and advertising for Universal’s “Foolish Wives,” has submitted his resignation, to take effect immediately after the opening of that picture at the Central theatre. He will immediately join Famouse Players-Lasky for special work on big pictures for that concern.