Screenland (Jun-Oct 1935)

for July 19 3 5 21 Famed Author, for the First Time, Tells You What He Thinks About Pictures, Particularly Those Filmed from His Own Books By Pearl Katzman I have never particularly aimed, pre . vailed throughout. No subtlety was used in the creation of the dreadful atmosphere. The whole thing was so ridiculously obvious that I must repeat — it was miserable. " 'The Invisible Man' was better — technically. It was more exactly as I conceived it. The casting, the acting, the mood, the supervision — very good." Wells was pleased with the excellent trick photography employed to present a picture of apparently empty clothes walking and moving. Claude Rains' voice, dominating the production, carried a sinister note which helped the tone of the film considerably. The minor characters too, Wells thought, were nicely cast. Una O'Connor and Forrester Harvey offered good characterizations of innkeepers in a true English countryside. "Yes," the author admitted, " 'The Invisible Man' was better — but even that was not what it should have been. "And no film can be produced correctly unless the author of the book is present to supervise production. Until this is permitted, producers will never learn how to make a faithful reproduction of a novel." Wells' reason for holding this opinion is that the author is the individual who conceived the story and the characters. He has a definite, clear picture in his mind of exactly how each character looks, acts, speaks. But the words he has used in presenting these mind pictures Acme Of "The Invisible Man," filmed by Universal with Claude Rains and Gloria Stuart, Mr. Wells says: "The casting, the acting, the mood, the supervision — very good." Hail and Farewell, America! H. G. Wells, v/ho said he came over here "to improve his mind," failed to visit Holleywood but consented to give his views on the movies. often produce another photograph in the reader's mind. Thus to every reader is presented a picture which is modified by his own understanding of the description, and qualified by his own experiences. So it is impossible to get a true picture of the characters as they were meant to be, except through the author himself. He alone has the right to select their living prototypes, since he is their creator. "In England, they are beginning to permit us authors to supervise production of our own works. You will notice that the pictures being produced over there are infinitely better than they used to be. Shaw has supervised some of the film treatments of his volumes. I similarly have been permitted to supervise production of the film, 'One Hundred Years From Now,' which is based on my novel, 'The Shape of Things to Come.' " This film, directed by Korda for London Films, is being produced with the greatest secrecy. It is to be released here through United Artists, some time next fall. "No," Wells answered my next question, "I would not rather have my books filmed in England. It doesn't matter to me where they are filmed, if they receive proper treatment. They will never be handled properly, however, unless I am present on the set to supervise backgrounds and characterizations. "Do I think English films will ever surpass American films? Well — no-o-o. No. But we'll run you a pace — we'll run you a pretty pace." He looked up with a smile. "Do you know that phrase — run you a pace?" "You mean, they'll give us a battle?" I asked. "Yes — run you a pace. But I do not believe English films will ever surpass those produced in California. Hollywood is beautiful, colorful. Hollywood has sunshine. Hollywood has hundreds of your vivid, charming American girls. If you permit English films to surpass yours, it will be no one's fault but your own." As to the cultural value of motion pictures, Wells believes that the {Continued on page 70)