Charlie is Still Popular in Germany

Sun (Auckland), Volume 1, Issue 80, 25 June 1927, Page 23

Charlie is Still Popular in Germany

Artist —Not the Man ! IMPORTANT VISITOR GERMAN FOREIGN SALES MANAGER (CHARLIE CHAPLIN'S matrimonial disputes make little difference to German picture fans. According to Mr. Kurt Hubert, foreign sales manager for U.F.A., the big German film combination, Charlie is as popular as ever in Germany. “He is looked upon as a great artist,” Mr. Hubert informed the Movie Editor, “not simply as a man.” There is little likelihood, therefore, of any of the Chaplin films being banned in Germany.

Mr. Hubert, who left for Australia by the Aorangi, is investigating the possibilities of the trade throughout the world, and was enthusiastic in his praise of New Zealand. He believes that the scenery of this country is admirable for film purposes, and would like to see it ex-

ploited as much as possible. “But production in New Zealand would, have to be undertaken by one of the grea.t cinema companies from the outside world,” he remarked, “if it is to be a payable proposition.” It was essential, he contended, that a picture should possess enough general appeal to enable it to be purchased for the world market. TO BUY “THE TERM”? One of Mr. Hubert’s duties in Australia will be to witness the screening of “The Term of His Natural Life.,” the feature in which Eva Novak, recently in Auckland, will be starred. “If I thirds it is at all suitable,” he added. “I will buy it for Germany.” The literature bearing on the question of convict settlement in Australia and Canada, said Mr. Hubert, was well known in the Fatherland. If “The Term” was all it was claimed to be, he declared, German picture fans would be keen to see it.

Mr. Hubert had been informed that no less a sum than £ 60,000 had been expended on this picture. “The problem confronting all producers is how to get the money back with an adequate return for the outlay,” he said, “and that is the big question to be considered in connection with the making of pictures in this part of the world.”

As for his own company, Mr. Hubert said enormous strides had been made since the war. The U.F.A. were now in active collaboration with certain English film combinations, and portions of British productions were actually being filmed in Germany. “We have the apparatus and the plant,” he explained, “and we are only too anxious to do all we can to build up European pictures.” The quota system in Germany, he declared, whereby one American picture was admitted for every German film made, had been a great success. It had prevented the country from being over-run by cheap American films. AMERICAN PICTURES

People did not realise the propaganda of the American film, which now had such a monopoly in most parts of the world. In every American picture American fashions, American boots and clothes, and even the American “language” was continually emphasised. “And the effect on millions of people must in time become very marked,” he said.

Mr. Hubert jsaid that his firm was out for some share of the market. With such pictures as “Variety,” and the later stupendous production “Metropolis,” the European producers would show the world that they could present better pictures than the Americans. “We know it is hopeless to compete in certain directions,” he added, “but I am convinced that the quality of our pictures will bear any test.” NO ANTI-ENGLISH FEELING

Any feeling that had existed against the English in Germany, said Mr. Hubert, was now dead. Personally, he had never heard the “Hymn of Hate” even during the war.

But with the French—Ah, that was a different matter!

Still, politics did not come within Mr. Hubert’s mission. Solely concerned with movie development was the foreign sales manager of U.F.A.

A nine-year-old boy, salvaged in France, is attracting much attention ir. Hollywood. He is Philippe de Lacy, an urchin whose real name is not known. Philippe was found wandering among the ruins of a little home following the bombing of Paris and was adopted by Edyth de Lacy, a Red Cross nurse. When he arrived in New York he was seen by Geraldine Farrar while the company was being cast for “The Riddle Maker,” and used in the play. He since has been cast in nearly 100 pictures.

Philippe had a part in “Peter Pan," then “Beau Geste,” and John Barrymore chose him for the role of his son in “Don Juan.” From among all the children in cinemaland he was selected to portray “Blue Boy” in technicoloui and has since been called for parts in “Old Heidelberg” and the forthcoming Emil Jannings picture—“ The Way of All Flesh.”

There is no indication in the latest report of Provincial Cinematograph Theatres that the industrial crisis of 1926 lessened the attendances at the cinemas in Britain. The company, whose year ended on January 31, reports a net profit of £276.770. which compares with £245,117 for 1925-26. and £231,496 for 1924-25. The bulk of the capital is in the form of preference and participating preferred ordinary shares, on which dividends of 7J per cent, were again paid; holders of the relatively small amounts of A and B ordinary shares received an increased return, the rate on the former being 10 per cent, (against 7 5 per cent), and that on the latter 5 per cent, (against 33 per cent.). The year’s allocations included £30,000 to general reserve and £ 45,000 to depreciation, while £96,700 was'carirea forward, as compared with £70,700. The balance-sheet shows the* company’s directly owned properties to be valued at £2.074,800. Investments in subsidiarv companies have increased from I £727,900 to £1,129,200.