Reel Life (Sep 1914 - Mar 1915)

Twenty-two REEL LIFE From Our London Correspondent Editorfs Note.— This letter, which was somewhat delayed in transmission, throws an interesting side light on conditions in the film industry when the German forces were approaching Paris. Yet it is interesting to note that while France, a belligerent, until a short time ago ivas able to send films to England, Italy, a neutral, was entirely cut off. I said, in my last letter, that one result of the close approach of the German forces to Paris would be a considerable amount of disorganization of the producing and printing facilities of a number of companies previously lucky enough to be on the "normal" list. The event has followed rather sooner than I anticipated. Already the preparations made for the defence of Paris and the disorganization of the means of communication resulting from the presence of both armies in the vicinity of the city, have led to a general "trek" to London. Several American producers whose custom it has been to do the whole of their European positive printing in Paris, have been forced to come over here with their stock of negatives and what supplies of raw stock and chemicals they were able to transport. Native French producers have in some cases already followed suit and in others will probably be compelled to do so. At the present moment London, ordinarily the least important producing centre of any of the European capitals, is the only one among them where trade is being conducted on anything even remotely approaching normal lines and the "European market" consists for the present and will consist for some time to come of the British Isles only. American makers who feel aggrieved at the fact may console themselves by reflecting that they are not nearly so badly off as many English agents who also sell on the Continent. In many cases these concerns have considerable amounts due them from their various sub-agents in Continental countries. The English agent will have to settle up with America but will consider himself fortunate if he gets his own money from the Continent in eighteen months. In fact, as far as the German and Austrian markets are concerned, he will think himself lucky if he ever sees it again. Apart from cash, valuable negatives are, I believe, in some cases hung up on hostile territory. Luckily, Mutual producers are less hit than most by the trouble in Paris. One and all print in London and have plenty of negatives and raw stock here. Therein they are better off than at least two makers associated with the Patents Company, who have had to transfer their facilities from Paris to London in a hurry and in the face of considerable difficulties. The Parisian producers are, however, the people who have had the real hard luck end of this war business. There's the Eclipse Company, for instance. It was doing particularly good business and was advancing its reputation in the English as well as the Continental market. A short time before the German advance drew near Paris it had orders from the military authorities at Paris to vacate its studios, which were forthwith pulled down ; they happened to be in the line of fire of one of the forts which defend Paris and like all such obstructions, had to go. Luckily Eclipse have a full equipment on this side and can keep going for a good while on their accumulated negatives. But its production is for the time being absolutely suspended. It may, like other French companies, decide to produce over here during the war, but a producing organization cannot be built up in a day and it is to be feared that French producers as a body will be put back several years as a result of the war. It should be remembered that most of them have been hit severely already by the wholesale mobilization of their staffs. The Gaumont Company, to name only one organization, has no less than 1,500 men serving with the French and British forces, and all the other French concerns are sure to have been proportionately hit. The two chiefs of the Eclair Company are at the front and the Pathe chief in London, M. Solenne, recently went to the front as a volunteer private soldier. Mr. Ferrand of the Eclipse Company was called back from America, where he had only been for one or two months, in charge of Urban-Eclipse interests on your side. One of the most curious results of the war has been that while France, a belligerent, has up to the present been able to send us films with more or less regularity, Italy, a neutral has been absolutely cut off. The suspension of the overland route from that country, via France, is, of course, the reason. Apparently shipping facilities have proved inadequate to take the new business. We hear of vessels reaching our ports from Italy at intervals, but evidently they carry goods of greater value at the present juncture than films. It seems unlikely, however, if Italy continues to remain outside the conflict, that some means will not be taken to resume ocean communication with her. It will be a happv day for many Italian manufacturers when that step is possible. It is generally believed that Great Britain is the best market open to the Italian manufacturer. His home sales cannot be enormous and with nothing else to live on, he can hardly fail to feel present conditions acutely. One must be resigned to expect no big films of the "Quo Vadis" class from Italy for a long time to come. The English manufacturer is being exhorted on all sides to seize the opportunity presented by the temporary limitation of foreign imports to secure a much larger proportion of the British trade. Such advice, while sound enough is, so far as it is based on the expectation of a positive shortage of films, occasionally too optimistic in tone. An experienced agent here recently gave it to me as his considered opinion that, despite the drop in the Continental output, there was still over-production in this market. You will gain from that some idea of the plethora of films from which we suffer at ordinary times. If he is right, and I am not inclined to dispute his statement, English producers are faced with conditions only slightly more favorable than usual. They have still the whole American output to compete with. In one particular, English makers have certainly risen to the occasion. They have produced with considerable speed a large: number of films of a strongly patriotic and militaristic cast and these are being very largely used by exhibitors. The home makers have made money by means of these films. Before one can say that they are likely to secure a more than temporary benefit from war conditions, however, one must wait to see to what extent they use their immediate profits to improve their stock companies and to advance the technique of their films. When normal conditions are restored the English makers must expect to be faced with keener competition than ever and they will only be able to face it successfully by producing on the same scale and with the same skill as their foreign rivals. Present conditions, cleverly exploited, may do much to furnish the enterprising Britisher with the sinews of war for a vigorous campaign when peace comes again. Cinema.