World Film News and Television Progress (Apr 1936-Mar 1937)

PUBLIC RELATIONS SHELL'S ROBOT IN COLOUR "THE WAR OFFICE has recently been ■*■ preparing a pamphlet of instructions on what the public are to do in the case of air raids. It will be shot out in millions to the country's householders. Many authorities on propaganda are said to have been consulted, and the pamphlet is reported to be a masterpiece of simple instruction. It is proposed to produce a film to supplement the effect of the pamphlet in all the country's theatres. The principal companies have all offered to co-operate, but it is beUeved that the choice of producer and the desire of circuits for exclusive runs have delayed the proposal. * * * DONALD FINDLAY, the enterprising publicity idea-man of DERRY AND TOMS, has, as a result of assiduous attendance at the Film Society, introduced Lotte Reiniger to window-dressing. Her silhouettes now light up the spring fashion displays in Kensington High Street. Findlay is an Australian, and apt to quote Australian progressiveness when the salesmen at Derry and Toms insist on crowding the windows. Retniger's silhouettes have, in fact, to be searched for in the cluttered display of frills, modes and furbelows. But even this progress in a Derry and Toms window is sensational. Barker's follow on with more Reiniger. * * * A G. HIGHET, Assistant Controller, Public •'^^Relations, at the POST OFFICE, has initiated a new use of film at the Ideal Homes Exhibition. He has combined living lecture and film, but not in the ordinary way of having the lecturer speak to the screen. Lecture episode and film episode alternate, the lecttu-er striking a general note, the film following with a dramatic episode in illustration or complement. The technique has only been roughed out in Highet's first example. It will bear even stronger dramatisation of the fihn episode and a sharper isolation from the lecturer. Highet now proposes to record the lecturer's voice on blank, cut it in with the film episode, and circulate the whole as a first lecture film in the new technique. PUBLICITY FILMS have begun production on the first British documentary to be made in Technicolor. The film is sponsored by Cadbury Bros. It deals with the life and industries of Trinidad, with particular emphasis on the cocoa harvest. A. R. Taylor is supervising the production, with Ray Rannahan (who shot Becky Sharp and Trail of the Lonesome Pine) as cameraman. THE KING EDWARD'S HOSPITAL FUND is cooperating with G.B.I, in the planning of a film on the rise of the volimtary hospital system in this coimtry. A committee composed of Sir D'Arcy Power, Major Phillips and Dr. Malcolm will act as Uaison between the Fund and the producers. DUNLOP RUBBER are sponsoring a film tracing the development of the wheel. The film is to be built round a series of dramatised episodes in which actual historical vehicles are used. They include a velocipede, a bone-shaker, a stage-coach and a pennyfarthing bicycle. Ralph Smart is producing for Publicity Films. The film is designed to advertise the Dunlop "90" tyre. TDEHIND The Birth of the Robot, which is -'-'shown on this page, is the figure of JACK BEDDINGTON, pubUcity oflncer for SHELL. Beddington has just retiu^ned from New York where, for some months, he has been helping the American organisation with English ideas. He is one of the leading publicity officers of the modem school, with an intimate knowledge of art and artists and an effective conception of how they can be used in advertising. Beddington has carried his progressive ideas into the use of film. He encouraged Maurice Beck in an early documentary film of London River. He promoted Rotha's Contact, and stood by the picture when Wardour Street doubted it. He co-operated with Elton in one of his most successful films of machinery. The Diesel Engine. He has now gone the whole hog with the avant garde with Len Lye's latest in colour. He deserves its success. The Birth of the Robot, produced in Gasparcolor by Humphrey Jennings and Len Lye for Shell-Mex, will lead a new movement in colour production. This 600-foot film represents the first serious British effort at colour animation. It is an imqualified success. Its boldness of experiment and excellent animation will make it the meat of every film society in the country. Its superb colour and high production polish will recommend it to specialist exhibitors in spite of its publicity sponsorship. A formidable roster of experts contributed to the making of the film. In addition to Jennings and Lye, who were responsible for the direction and animation, the production staff included C. H. Dand (script), John Banting and Alan Farmer (design and construction of models), Alex Strasser (camera man) and Jack Ellitt (soimd-charting and cutting). The music of the film is from Gustav Hoist's Planets suite. W. H. SMITH'S BOOKSTALLS s E World Film News 25