The Moving picture world (January 1924-February 1924)

February 16, 1924 MOVING PICTURE WORLD 543 Excessive Taxes Menace Industry in France; American Ideas Superior By W. STEPHEN BUSH EVERY Sunday afternoon, whether the sun shines or not, great throngs pour into the big and attractive thoroughfares that lie between the Boulevard de la Madeleine and the. Place de. la Republique, Paris, France, in search of motion picture entertainment. Long before two o'clock the crowds besiege all the show houses with which this section is dotted so generously. Practically that entire afternoon and night means capacity business. As the prices of admission average just about the same as those of any large theatre in the United States, the uninformed observer is likely to believe that the French exhibitor's lot is indeed a happy one. Such, however, is not the case for every theatre has to give up 35 per cent, of its gross receipts to the Government of France and to the municipal administration. As throughout the world, the theatre owner is the big feeder of the industry and where he is at a disadvantage the whole industry suffers in eve"ry vein and nerve. The exhibitors of France are organized in name only; they have a charter and a program, but they are little more than parchment and paper. Three years ago France had no censorship. Nowhere was there the slightest demand for it, indeed censorship is naturally distasteful to the French mind which, in all matters relating to public entertainment, is exceedingly tolerant and enlightened. The unorganized condition of the theatre owners, however, again attracted the notice of the politicians and now a lot of office holders are making a pleasant and easy livelihood by looking at films before the public is allowed to see them. These "censors" are supported by involuntary contributions from the motion picture industry. According to all accounts French censorship is more or less nominal ; no American producer as far as I have been able to learn has ever had any trouble with it, but there is a lot of needless ceremony and expense. While as a rule the decisions made in Paris are unquestionably respected in every part of the Republic, the local authorities have the right if they choose to do some more censoring on their own account. The French producers, who played so important a part early in our own history, were handicapped and much set back by the war, but they are undoubtedly progressing and regaining some of the prestige which years ago they enjoyed throughout the world. They have learned much from their American competitors — and they admit that they still have a lot to learn. The reputation of the French in the world of motion pictures has been enhanced by a number of films recently made by them of which I might mention "Ferragus," a clever film built on a Balzac story and "Koenigsmark," one of the longest films ever turned out and directed by a man who has done some creditable work in the States and now has surpassed himself in giving the screen the adaptation of a much read novel by Pierre Benoit, a contemporaneous author of some note. I saw the film in the "Salle Marivaux," the one house in Paris where first class pictures hold the screen for a period of weeks and even months; it was there that "Robin Hood" enjoyed a four-months' run. The director of "Koenigsmark" is M. Leonce Perrett, who will be remembered in New York as a fairly successful director in a small way. Watching this splendid production, it was most interesting to note that all the fine and big ideas had evidently been learned in the American school. The French vision has a lively understanding for the rights of art. When you graft upon such a mind American quickness and initiative and daring the result is apt to approximate 100 per cent, in the way of screencraft. I have little doubt that this film, "Koenigsmark," will find its way to the American screen and a rather general review at least may not be without interest. M. Perrett took a leaf out of the American book of art and perfection in film by the selection of his settings. He travelled many hundreds of miles before he set up his camera and when he did so he found himself in probably the most romantic corner of the continent. Much of the frame of the picture consists of the pretty lakes and sombre but picturesque forests of Bavaria. There are scattered through these scenes of rare natural beauty a number of glorious castles and parks and palaces built by a crazy king of Bavaria and these are indeed unusual in the way of settings. In the spectacular line, too, the best and most exacting American models and standards have been reached and here and there, I believe, really surpassed. The story abounds with sensationalism, suspense and mystery predominating. Many scenes were taken in familiar places here in Paris — an idea of international screen values which also originated in American brains. The action is there, too, action in the sense of exhibitor and public. M. Perrett has chosen an entirely French cast. While the majority of the players are pleasing and capable the weakest point in the cast and play is the leading lady, taken for the occasion from the Comedie Francaise. Not that the woman is 1 not clever enough. What Americans may miss here is the total absence of sweetness and womanly gentleness. The American public is spoiled when it comes to their screen favorites of the gentler sex — the touch of hardness in the appearance as well as in the manner of the foreign artiste may evoke criticism. Scenes from "Among the Missing," a Will Nigh One-Reel Subject Distributed by Pathe. The Picture Co-stars Will Nigh * and Lucille La Verne. ' The Former Also Directed