Movie Age (1927)

MOVIE AGE PAGE 3 editorial THE report from the studios that national producers plan a curtailment of production for next year with an expectant result of bet¬ ter pictures is good news. There is no denying that there has been overproduction at practically every one of the studios and that at the rate pic¬ tures have been turned out, many, which other¬ wise might have been hits, proved to be only mediocre successes and many others complete flops. “Fewer and better pictures” has for several years been a pet slogan used by many, but has been adhered to very little. Production efficiency seems to have been made into a contest by pro¬ duction executives in which a prize was held up for the director who could make a picture in the shortest time. And several times boasts have come out that a picture, said to be a big one, was turned out in something like eleven or eighteen days. When many of the really big pictures, the biggest pictures, require months of “shooting,” how can anyone expect even fair results from a hurried scramble to set a time record for photo¬ graphing a picture ? The report also states that independents are planning to increase their output for next year to supply the difference in product in the event of any retrenchment program and thus prevent a possible shortage of product. If each independent producer will put the same good effort into the making of six or eight additional productions that has been recognizable in independent releases thus far this year and not increase their schedules too heavily, all will be well. But, if they so in¬ crease their production plans that a hurried scram¬ ble will become necessary, the result will not be so good. The independents have set the pace for good pictures this year and we believe that this has been largely made possible by the fact that all have made a comparatively short number of releases, concentrated upon for quality. The belief is expressed that the Federal Trade Commission’s ruling on block booking is responsible for the plan to cut production sched¬ ules. Whether this is so or not makes little dif¬ ference. The ultimate result is important. Fewer pictures will relieve the congestion of playing time caused by overselling and overbooking and better pictures will result in bigger profits for both exhibitor and producer. And not to be overlooked, a more satisfied public. * * * * WHILE on the subject of better pictures the thought comes to our mind that simplicity is the thing to strive for — simplicity in story, plot and production. There is a formula for economy. Many think that a production in order to be “big” has to be lavishly produced, with enormous sets and casts and with heavy story and plot, told in minute detail. True, the road show productions have been gigantic spectacles, but some could have been stripped of their lavishness and still be big pictures — perhaps bigger financial suc¬ cesses than they are turning out to be, and re¬ leased direct to first run houses rather than as road shows. Perhaps one of the finest examples of sim¬ plicity in story and production is “Seventh Heaven.” It is an outstanding success at the boxoffice and has created much public favor. At one of its current showings the picture was expected to be only a two-week draw, but so strongly has been its word-of-mouth recommendation by those who saw it during its first week’s showing that its second week’s business exceeded all expectations and its run was extended. Here is a simple story of the human emotions. Its two leading characters were unknowns to the photoplay public. And with the exception of the war sequences, which, excellent as they were, could have been left out without injuring the picture, the production was anything but lavish. It was wholesome entertainment. It might be said that it lacked many of the present-day so-called necessary ingredients to box-office success, and yet, through its very simple love story and quite simple handling it packed an extra strong wallop that is eliciting from many mouths the words, “the best picture of the year.” Frank Borzage deserves a medal for his directorial effort in this production. And Fox, its producer, deserves to be commended for re¬ leasing this box-office gem direct to picture thea¬ tres, instead of over the road show route.