Moving Picture World (Jan-Feb 1922)

January 7, 1922 MOVING PICTURE WORLD 61 Trust Controls 350 Japanese Theatres; Industry Shows Remarkable Development A FULL report of the motion picture industry in Japan has been received at the Department of Commerce from Trade Commissioner Scott, who has just completed an investigation of the industry from Tokyo. The industry has had a remarkable development in the past few years, it is declared in the report. As far back as 1914 or 1915, foreign films, chiefly American, were growing in favor in Japan and they have continued to increase in popularity steadily. Following is a part of Mr. Scott’s report to the department: “There are in Japan about 600 theatres giving regular performances and about 2,000 more giving occasional performances. From the standpoint of imported films, however, only the 600 need be considered. Of these Tokyo has about fifty houses, Osaka thirty, Kobe fifteen and Kyoto ten, the remainder being scattered throughout the country. These theatres seat between 500 and 1,800. The term seating capacity is a misnomer, as in many houses the lower price of admission entitles one to standing room only. The majority give one performance a day, although some, such as the large houses in Akusaka Park (the Coney Island of Tokyo) give continuous performances and appear to be always crowded. Trust Controls Many “Of the 600 theatres, the so-called trust, the Nippon Katsudoshashin Kabushiki Kaisha, owns or controls about 350. The trust is by far the largest picture company in Japan. It owns or controls a majority of the theatres, in many cases owning the buildings. It rents the theatres, supplies films and machines, usually on a percentage basis, and sometimes exercises a supervision over the show. Its percentage of the profits varies with the theatre. The trust has at present two studios, one in Kyoto and one near Tokvo, with a force of 100 actors and fifty cameramen, directors, etc. “In addition to the theatres, films are in demand for Y. M. C. A. performances, nrivate entertainments, etc., though it is hard to estimate the total volume of this business. “As an index of the popularity of the motion picture, Tokyo’s fiftv film theatres play annually to over 10 million people, while the twenty legitimate theatres, with much larger seating capacities, play to somewhat less than 5,000,000. These twenty legitimate theatres give almost exclusively Japanese plays. Two however, the Imperial Theatre and the Yurakazu, occasionally give foreign plays and at times show motion pictures. These two theatres have seats arranged in foreign style. There seems to be no question but that the moving picture has hurt the regular theatre business in Japan to a considerable extent, but 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. “For the better-class theatres the admission charge runs from 0.50 to 1.50 yen (25 to 75 cents) though for some performances as high as 3 yen (1.50) will be charged. The smaller ones charge from 30 to 50 sen ( 15 to 25 cents) though some prices are as low as 10 sen (5 cents). The average price for all will probably be in the neighborhood of 50 sen (25 cents). Children under 15 (where admitted at all) and soldiers are usually admitted at half rates. Market for Accessories “Practically all the cameras used in the picture business are imported, as the Japanese have so far been unable to turn out a satisfactory article. American cameras seem to be very popular, although the trust uses French cameras exclusively. Some German makes are also in use. The duty on cameras is 50 per cent., but as there is no domestic competition, the market for American cameras should increase with the growth of the business. “With regard to machines, the situation is different. The majority of those in use are of Japanese make, the reason being the difference in price between the imported and the domestic product. The Japanese machine is cheap in quality, but also in price, and as most of the theatres are running on close margins, they state they can not afford American makes, although readily admitting their superiority. Resides, the majority of theatres rent their machines, usually from one of the large companies. The trust manufactures its own machines, furnishing them to its chain of theatres, but it is stated that unless the quality is improved it may have to import machines in the future. A good Japanese machine sells for about $150. One large company handling American machines sold but eight in the last two years. Methods of Releasing “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 rule individual theatres rent their films from one of the larger companies, who 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 a 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 picture of about six reels (sometimes both are 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 a 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. A film on the last circuit will last a little over a year and then it is stored. There is little or no sale for films after they have made the rounds. Films are dutiable at 8.25 yen a kin ($3.10 a pound), including inner packing. No Redress for Pirating “Complaints are made of pirating of films, and apparently with some foundation, as many individuals make a business of obtaining films in various ways and selling them outright. As there is practically no redress for this sort of thing, American companies should take every possible precaution to safeguard their productions. “American films practically dominate the market as far as foreign films are concerned, although Italian makes enjoy a certain amount of popularity and some German films have had a remarkably good run. As regards Japanese productions, a decided improvement can be noticed, and the producers are following more and more the foreign style of plot, with more action and less posturing.” Penrhyn Stanlaws Lays Aside Brush and Easel Penrhyn Stanlaws, the artist-producer, has returned to the Paramount West Coast studio after a month’s stay in New York with several new stories tucked away in his grip and tentative plans for several pictures which he will make during the coming year. The star will be Betty Compson. Stanlaws says that he has deserted for good and all his paint brush and easel for motion pictures. He has closed up his artist’s studio in New York and will spend most of his time on the Coast hereafter.