“TIME MARCHES ON”

Wairarapa Times-Age, 5 April 1940, Page 9

“TIME MARCHES ON”

REAL STORY BEHIND THE NEWS The history of “The March of Time" is a twentieth century fable come true. Originally arising out of a desire to serve the public thirsting for knowledge, and the real story behind the news, it has filled such a great want that from its humble beginning it has attained its present important position in the film world. Entertainment and education joined in partnership when those two magazines, “Time" and “Fortune," decided to work together on a film series to be known as “The March of Time." "Time,” founded in 192.3. anid “Fortune” founded in 1930, were two powerful magazines whbse circulation and influence were felt and respected in every walk of American life. Having as their principals groups of young men who avidly watched every phase of modern, commercial, political and financial change, and suggested change, these two papers became quickly recognised as amongst the bestinformed medium of public knowledge. Entirely fearless and unbiased in their views, both publications commanded the respect of readers. The first film venture of the newlyformed group was ready for general release in the theatres of the world in 19.35. In every audience there were dozens of people who, intrigued and impressed, went home to talk about it. Others, with but little notion of what it was all about, were startled into a few minutes of attention while it was unreeled, and then promptly forgot about it. But, both the disappointment of those who expected too much, and the amazement of those who expected nothing, proved one thing—the eagerness with which people would respond ' to a really vigorous treatment of current events on the screen. The demand was there —totally unfilled. The theory of "The March of Time” is that people want to know —to second hear as well as to read —what is going on in their world at the time. The more important a thing is the more, intensely they want to know about it. So the policy is one of insisting that each sequence presented must have some bearing, and the sharper the bearing the better, on a news story of t-MW-aur -- ' -wratlffiHKEm

national significance and lasting human interest. ‘ Just as a news magazine is in no sense competitive to the daily newspaper, so is “March of Time" a different form of screen journalism, entirely non-competitive with the long-estab-lished, universally accepted newsreel. In the news-gathering field. "Time's' editors have had long experience. So. in making' “March of Time" the first problem is to decide not only what is important news today, but what will still be news a month or two months from today. It takes four weeks to make one “March of Time," and each issue is shown for several months after release date. The next job is to write a script based on important news stories. “Time" has news agents all over the world, and an elaborate clipping file and research library on which the script writers can depend for facts. Third step is to take the carefully prepared script in hand and go in search of pictures which will best tell the story. First, there are the participants in the news itself. “March of Time" has been very successful in securing persons whose activities have just made or are about to .make news, to act before the cameras. Contrary to general newsreel practice, prominent personages are; not just backed up against wails and asked to read a speech to the camera, or to smile while a news commentator speaks. Instead, they are persuaded to act out the part they play in real life, and it is by no means easy to get. people to “b’e themselves" when confronted by a camera.

At times the script calls for pictures of a personage of news importance who is comera-shy—in fact so shy that he has himself protected by bodyguards to ward off cameramen. To secure pictures of the ageing and secretive Sir Basil Zaharoff, famous munitions salesman. the Paris cameraman had to masquerade as a pushcart pedlar and conceal his camera under a pile of orange;, before he could get near the suspicion.. old man. When actual scenes cannot be fount., or taken of the persons or events that have made or are making news "March of Time" re-enacts from documented news reports scenes necessary to the continuity of the story. Occasionally. when historical background requires film of a particular past event, certain shots are take from film libraries. After all the film has been collected for one script, it is roughly spliced together and run off. Then begins a long siege of cutting, re-allocating, re-tak-ing and collecting more film. At last the finished sequence is ready. Then follows the sound synchronisation ano the addition, where necessary, of the commentator's voice to clarify and explain the action. Which brings us to a most important personage, the man behind "The Voice of Time.” That voice on the screen is probably recognised more quickly and imitated more often than any other. In making "time marches on" the man behind that voice has become what the motion picture industry has never before known —an actor rocketed to fame and stardom without, having once set foot before moviedom’s Klieg lights. His is the distinction of being the only star

who comes to life on the movie screen, without the aid. of visual image. I Millions of people know him as the Voice of Time. Yet only a few know I the man behind that voice. He is C. j Westbrook Van Voorhis, and he con-1 tends that saying “Time Marches On'"| is the easiest thing he does. He can • swing into it and give it all he's got in a few short seconds. But the actual i commentary—his part as the myster-| ions, detached voice of the news telling the narrative of “March of Time"—; is a different story. It takes long.; tedious hours of rehearsal —hours spent; in reading and re-reading, of marking! and re-marking of script for each movie release and each radio broadcast. I