The Film Renter and Moving Picture News (Jan-Feb 1923)

January 1, 1923. Td) te tae ee Ce cee) Pee THE FILM RENTER & MOVING PICTURE NEWS. NEW BLOOD. AND FRESH IDEAS. The Big Chance for British Films in 1923. (By ELIOT STANNARD.) of 1922, another page is turned in the history of British films. It makes brighter reading than the preceding page for 1921, and contains the nucleus around which, in my opinion, there will evolve a vigorous new policy which will carry the British film to world supremacy. Arrival of the British Super. Possibly the trade that two epoch-making revolutions took place in the British studios in 1922. The first, the arrival of the super-film. No less than four British firms produced films of from eight to ten reels in length, which competed in lavish mounting, spectacular effects, importance of subject, international renown of star _ players and expenditure of hard cash, with any foreign super-film yet made. In other words, the British manufacturer for the first time competed pound for pound, dollar for dollar, and lire for lire with his foreign rivals, and aimed courageously at a world market instead of, as formerly, producing for home consumption. Mr. Buror STannarp. Standing Up to the Foreigner. These super-films have successfuily stood the test of special exploitation and West End ‘‘ runs,’’ and have already done much to break down the prejudice against British films, which, until recently, has undoubtedly existed amongst the kinema-going public. Such a revolu ‘tion is of great importance to scenario writers like myself, since it means that for the first time in the history of British films we have not been hampered by the question of expenditure, and have, therefore, been writing on an equality of conditions with our American, French and Italian confréres. Three New Men. ' The second revolution of 1922 I regard, however, as of far greater importance, especially to scenario writers, than this arrival of the British super-film.. I refer to the revival of the short film, the one and two-reel subjects. Until now the short film has been looked upon largely as a make-weight to complete the exhibitor’s program, and it was only in 1922 that the possibility of featuring short films became practical. This *‘ arrival ’’ of the short film, I unhesitatingly ascribe not to the foresight of the trade, but to the excellent, artistic work of. three yITH the passing does not yet fully realise’ new-comers: Manning Haynes, with hig W. W: Jacobs short films; George A. Cooper, with his Quality films; and Edwin Greenwood, with the B. and C. Historical films. These three men, working without any vast outlay of money, have, by a lavish expenditure of enthusiasm, courage and brain, done an incalculable service to British films. They have established confidence in the British producer; they have shown the way in which the Englishman can experiment, demonstrate and prove his artistic ability to the manufacturer and the financier without the outlay of immense capital. . They have established a nursery in which their countrymen can train to become the. master-producers of the future. They are new blood ; they have fresh ideas. What will these three men become in 1923? It will be worth waren! Importance of the Short Subject. Thanks to them, how long will it be before no program will be complete without a short British film? Personally, I believe the conquest of the British screen igs an accomplished fact so far as short films are concerned. To-morrow the short British film will be seen on the screens of the world, and from that it is only another step to the peaceful penetration of the long film ‘both here and abroad. At the samé time, we are limited by the small total output from British studios, and, believing that the day of the long film is past, except for super or wholeprogram pictures, I would suggest that every British manufacturer collects his past successes, re-editing them and cutting them down to three-reel subjects, and then reissue them. By this means a market would be created for three-reel subjects; the gulf between the super and the program film would be widened; more room would be created for new short-stuff: old British films would gain a new lease of life and thereby bring in money which otherwise would never be cama. and finally, but of most importance, the public demand for greater variety would be achieved. The Path to Prosperity. When I think of the British firms which have come into existence in recent years, heavily backed by city finance, and run either by imported ‘‘ experts ’’ or adventurers who rushed in where angels feared to tread, only to collapse into ignominious bankruptcy through feebly attempting to copy foreign methods, I am more than ever convinced that the salvation and future world prosperity of British films can only be achieved by appraising at their true value these modest new-comers who have already shown the courage of their own convictions without risking, by. reckless expenditure, the ' financial ruin of their firms. . Let us make British films that are British in . conception, treatment, and development, but not bad copies of foreign films. “The short films and the super films of 1922 have shown us the road lying straight before us. Do not let us be afraid to travel along it towards—Prosperity.