Films and the Studios

Sun (Auckland), Volume IV, Issue 1058, 23 August 1930, Page 25

Films and the Studios

BRITISH TALKIES? More than a year ago it teas predicted on this page that the coming of talkies would enable Britain to regain her lost place in the motion picture business. Today it is abundantly clear that this prediction is on the eve of fulfilment. In Hew Zealand, British productions are definitely coming into their own. If the present standards of comparative quality are maintained and production is increased to a point whereat regular programme supplies can be maintained, a market as wide as the country lies before them. In pre-talkie days the announcement, “A British production,” was sufficient to drive patrons away from any theatre. There need be no blinking that fact. Every picturegoer and exhibitor knows full well that the best of Union Jack films was mediocre beside those of the Stars and Stripes. The public invariably selects the best in entertainment regardless of patriotic considerations. Today British films are coming to the forefront, not because they are British, but because they are good. The charm of English voices and the added sincerity of English acting that shows up so plainly in talkies — factors, plus the worth of British plays, are spelling success. Proof is supplied by “Atlantic,” “ Blackmail .” “Rookery Hook,” “The Hate Ship," and “Harmony Heaven," to name a few that represent a wide variety. Each is a gem of its kind—each contains dialogue, delightfully spoken. Each is of a quality neio to the talking screen. Other good British films will come, and the hope is that producers tcill take advantage of their golden opportunity. Besides greater production, better publicity is needed. This is improving gradually, but must go a long way before it can compete with Hollywood's remarkable services. In the meantime wonderful strides have been made, and the British hallmark on a talkie today may be taken as a reasonable guarantee of excellent entertainment.