Picturegoer (1934)

April 28. 1934 rT~'HE famous novelist gives his views on screen material, which, he says, should look for its inspiration beyond the newspaper headlines, in an interview with a PlCTUREGOER lepresentative PlCTUREGOER Weekly films is degrading, immoral or injurious. On the contrary, it is my opinion that the majority of films are well constructed, entertaining, educative and more moral than probably any other form of art. Precisely for these reasons I would like to see the film draw upon life more widely for its stories. Consider the lives of great men — pioneers in the cause of science, discovery or empire; musicians, artists, great reformers. There is rich film material in each of them. I believe a film based on Cecil Rhodes is contemplated. Why not make films about Edison, Shakespeare, Wilberforce, Beethoven, Livingstone and the scores of others who come readily to the mind? Richer drama could not be found anywhere — and as for characterisation, nothing more magnificent could be required. There are sentiments in life unconnected with crime and romance which are legitimate film material — the ambition and power which raise a man from the gutter to the heights of success, the sympathy and fellowship (seen at their most potent in war time) which engender unselfish sacrifices, the devotion of a man's life to a religious principle or political ideal. I cannot be persuaded that such emotions could not form the basis of interesting pictures. In fact, I have precedent on my side since some of the most outstanding films of recent months have been just those which have neglected the ordinary story motives in favour of those I am advocating. Gabriel Over tlie White House was one such film. It was an enthralling production, yet its "sex interest" was incidental and its main thesis was that the inspiration of one great man could save a nation. Luis Trenker in his film The Rebel painted a portrait of a patriot of the Tyrol, who died rather than surrender his country to the overwhelming armies of Napoleon. Cavalcade was the biography of an English family through many years of history. Lady for a Day was a beautiful production based on the fellow-feeling of a group of beggars on Broadway. There are other examples which the filmgoer will be able to provide for himself. Each of these films dealt with aspects of life outside the common range of film subjects — yet their success was above the average. The inference is obvious : the film public, like the play-going and novel-reading public, is more catholic in its taste than the producer is apt to realise. Sex and crime are not enough. There are other factors in life and other emotions met with every day and understood by all which can yet be fashioned into attractive screen entertainment. If Sorrell and Son contributes one such subject I at least shall feel pleased and proud. I believe that the filmgoer needs and welcomes a change from the conventional or stereotyped story — and I hereby make my plea, as a member of the film public, that the film producer shall go metaphorically out into the world and give us more pictures based upon the great constructive emotions of life and less of those which reflect the police court pages of the press. Above, left to right, Warwick Deeping, H. B. Warner and Jack Raymond, the director. Right, Winifred Shotter and Hugh Williams, who provide a tender love interest, fortunately free from sex.