World Film and Television Progress (1937-1938)

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Two-feature Programme mixes "PT^WO big feature films — three and a half hours of Entertainment." Analysed, it will often be found that the "two big feature films" consist of one film worthy of the name and another that fulfils its function of doubtful value by supporting the main attraction ; the three and a half hours are there all right, but whether this time is taken up by Entertainment is very much open to question. There is obviously prevalent in the Cinema industry, a curious mentality which construes quantity as being far more satisfactory than quality. Assuming that "the patron is always right" let us look at his side of the question. I particularly wish to see Romeo and Juliet, and so, having paid my nimble shilling I am ushered into a darkened auditorium where I am immediately credited by a flattering management, with a mentality so flexible that it will allow of my instantaneously adapting myself to the sudden change from the outer world of realities to the lavishly embellished world of illusion. Unfortunately for me, I find that I have been plunged right into the middle of that atrocity of atrocities, the second feature, and before I am to be allowed to enjoy that which I seek, I must endure some forty-live minutes or more of Zane Grey, Being entirely unaware as to just how long I must suffer this curious form of preparation for Shakespeare, the minutes punctuated with "O.K., Boss," and "Sharp and snappy on the draw," not only seem like hours, but enhance my sense of frustration. Fidgety and with my sense of flattery utterly vanished, I feel in no mood to absorb Shakespeare and when at last the long-awaited title is blazcned upon the screen, (without a second's interval dividing the fade-out of Zane Grey and the fade-in of Shakespeare), I am ill at ease, more especially as in the first two or three minutes I have to rise from my seat and allow some ten or twelve outgoing patrons to leave. The leaders of the rival houses shake hands and 8 "Six-Shooters" and Shakespeare Shakespeare fades out, after demanding my concentration for over two hours. But, wait, what's this, oh! without a moment's pause, Zane Grey is back again, and Shakespeare's King's English gives way to the strains of "I'm an old Cow Hand" played and sung by a group of what the screen tells me are "Hill Billies." The strain being too great I leave my seat and the obliging young man who has been responsible for my physical (but not mental) safety during the past three hours, informs me that I should have been in his theatre for three and a half hours, had I stayed to see the programme through. I cannot imagine anyone wishing to read for three and a half hours, turning to the middle of a Zane Grey novel, leaving the final page, and taking up his Shakespeare which he finds far more to his taste. Shakespeare finished, he finds that he has thirty-five minutes of the period he set himself to spend in reading, so he again takes up his Zane Grey, and reading from the first page to the place where he previously commenced, rises satisfied that he has taken up the allotted time. The cinema magnates will tell you that they endeavour to cater for all tastes. A very desirable, if difficult, aspiration — but why be so foolish as to believe themselves capable of achieving this object at one and the same time. What do I find, hundreds of would-be patrons for Paul Robeson, kept away from a local cinema, because the programme also includes a second feature starring Joe E. Brown. This, dear friends, is what is know n by those highly paid Cinema Executives as "balance." The Joe E. Brown seekers are not a bit inteiested, in fact they are appalled at the thought of spending one hundred minutes with Robeson as a wait for their particular fancy. Surely this form of programme building cannot be adhered to much longer — if it is, I shall not be surprised to find those responsible for the control of the "Queen's Hall" balancing their pro