Picture-Play Magazine (Mar-Aug 1921)

A Trip Through Europe's Filmland 19 as well as for all phases of commercial advance, we need the collaboration of our friends overseas. The sooner we forget our wewonthewar jingoism, counterfeited "Americanism," the sooner we will achieve the highest standard and discover "the great American photo drama." Most European pictures have nothing to teach us. They wouldn't even entertain'us. "But don't forget," says our friend from Vienna, "that most of your American pictures wouldn't be received in Europe, any more than ours would succeed here. Once it was every one in Austria was crazy about your Western pictures. Now they are tired of them. Always the same, they say. True, you are experts technically. You make the most of your stories, but your stories — they are so terrible ! " 'Way Down East,' 'Over the Hill' — yes, of course, we want them. But such stories as 'Madame Peacock' or 'Dangerous Business' our people would not stand for. You Americans will stand a lot because of your stars. At least you endure very bad pictures in order to see rhem." The Europeans seem to have struck a better balance between their forces of production. The picture in totality is the thing. "Passion," or "Du Barry" as it was known abroad, is not exploited as an Ernst Lubitsch production or a Pola Negri production. Each is given credit, yet the picture itself is the attraction. The Germans and Austrians have their stars, but they don't let them dictate as to the number of close-ups or the amount of "sympathy" which must be thrown their way regardless of realism. The principal studio zones of the continent in the order of their interest to us are : Germany, Italy, Sweden, Austria, and France. The main sources of our foreign supply for the next year or two be Germany and Italy. And only their Pola Negri, a Polish actress, captivated the American public in her deliniation of Du Barry in "Passion," First National's importation from the German studios. at least will greatest picures will meet with any marked attention here. ON THE GERMAN LOT. During the year 1919-20 there were something like one thousand pictures produced in Germany. This surpasses the number of pictures released during the same time in the United States, but probably does not equal the number produced. For the storage warehouses of New York do a flourishing business in films. Germany comes out of the war in a healthier film condition than the other countries of Europe, because she had to depend upon her own studios for pictorial supply during the imbroglio. The rest of Europe relied chiefly upon America. The Film Express, published in Berlin, reviews the German situation : "The economical crisis which started with the war paralyzed the German film industry. But with a wonderful energy the German film manufacturers undertook to keep their works running even when restricted. "In 1912 the German film industry had eleven film manufacturing firms, which was doubled by 1914. As. the war came to an end Germany had over one hundred and thirty manufacturing companies." The principal companies are the Ufa. Decla-Bioscope, and the May Film. The small film has disappeared almost entirely. The middle line is held by five-part productions, while the large firms are occupied exclusively with the manufacture of "superproductions" running to ten and twelve reels. All the companies of Germany and Austria have united in a combine governed by the Ufa organization, which alone controls five studios in various parts of central Europe. "Passion" is the first production of consequence to reach us from the German "lot." It is the work of the leading director of the continent. Ernst Lubitsch. "Passion" also introduced one of the finest actresses, Miss Pola Negri. Immediately critics sought to title her. She was described variously as another Nazimova, and a cross between Theda Bara and Norma Talmadge. All of which amuses, and indicates that Miss Negri is incomparable. Most people doubtless have concluded that she is Europe's greatest actress. She certainly compares favorably with America's greatest. And in the final judgment she may prove to be our favorite of continental charmers. However, she is not considered the supreme artiste over there. Asta Nielsen is given first place by German and Austrian producers with whom I've talked. Thev add, however, that she would