CLIFFORD HOWARD
973 N. NORMANDIE AVENUE
LOS ANGELES, CAL.

St. Marcian's Day, '28

Dear Mr. Macpherson:

It is very gratifying to know that you would
like me to let you have further contributions for
CLOSE UP, and to act as your Hollywood correspondent.

I shall be much pleased to do so. In fact, I
had hoped before this to find time to write you an-
other article, but I have been rather busy of late
carrying out a commission from Cecil de Mille to cut
down "The King of Kings" to a nine-reel picture. As
now exhibited it consists of eighteen reels, and to
reduce it by one-half without destroying its coherency
or interest is something of a task.

I was much entertained and amused by the humorous
review of the picture in your December issue. Probably
no other picture has ever called forth so great a vari-
ety of criticism and commentary, ranging from superlative
eulogy to the severest condemnation. A certain faction
of Jews in this country has been very strenuously oppos-
ing it. Nevertheless it appears to be more than holding
its own, to judge by the crowds it is attracting where-
ever shown, both here and abroad. According to reports
from Copenhagen, for example, it has aroused unprecedented
popularity there.

You ask about experimental films in Hollywood and
also for some information about William K. Howard and Eric
von Stroheim. In my contemplated article I shall endeav-
or to touch upon the work of both of these directors, and
to point out why we see so few experimental films from the
film capital.

With kindest regards to yourself and Bryher, be-
lieve me,

Very sincerely yours

CLOSE UP

Monthly Cinema Review

TERRITET, SWITZERLAND

HOLLYWOOD CORRESPONDENT
CLIFFORD HOWARD
973 N. NORMANDIE AVENUE
LOS ANGELES, CAL.

May 7, 1929

Dear Bryher:

This is the first opportunity I have had to write
to you since reading your "Film Problems of Soviet Russia."

As I told you in my letter of April 19, transmit-
ting my monthly contributions, the book had come a few days
before and I was looking forward to enjoying it.

And I have indeed enjoyed it, most thoroughly. It is
not only excellently written, but is also of the greatest
interest, both because of its presentation of the work of
Russian directors and because of your interpretation and keen
analysis of the different films. I don't know of any hook
of a like character on American films -- perhaps because
they don't deserve it.

Altogether the book is a credit to you and to POOL,
and I again want to thank you for your thoughtfulness in
sending me a copy of it and for the pleasure it has afford-
ed me.

I wonder whether my letter and contributions mailed to
you on the 18th of March ever reached you. They included
some stills of "She Goes to War," as well as some notes,
and an article, "Signs of the Times." Up to this time I
have had no word from you in regard to them. I would think
nothing of it were you not always so prompt in acknowledging
communications; and I am therefore a little fearful that
this particular one failed to reach you.

I saw a "trade and press preview" of "She Goes to War" a week or two ago. I had been led to believe it would prove something out of the ordinary -- and according to original plans and the original story it should have been,-- but the outcome is merely another War picture, no better and no worse than "What Price Glory" or "The Big Parade" or "Wings." Another case, I am afraid, of too many cooks spoiling the broth. I am confident that had King had a free hand the picture would have been something decidedly out of the common run.

It has sound effects, but only a few spoken sequences.
It has one very spectacular episode, and one or two very tell-
ing moments from the dramatic point of view.

OPPORTUNITY
Journal of Negro Life

Published by the National Urban League
17 Madison Avenue, New York City

Elmer Anderson Carter
Editor

May 22, 1929.

My dear Sir:

Since you are an editor yourself, you probably are
aware of some of the difficulties in the way of preparing
articles which confront an editor.

I had hoped to prepare a sort of an introductory
article for this Negro and the Motion Picture issue of the
CLOSE UP, which I promised you. After securing Mrs. Geraldyn
Diamond as one of the contributors, I became so busy in the
preparation of my own magazine that I was unable to give the
time to the article which I was going to submit to you.
I am enclosing the article, which may or may not be suitable
for your needs. If not, it is all right; you needn't return
it. If it is, you may use it as you see fit.

Since I waited so long I had hoped that Hallelujah
would have been released before I prepared it, but I decided
to wait no longer because the release date of Hallelujah is
shrouded in doubt. The probabilities are that there is a
warm conflict between the director and the producer, whose
ideas sometimes clash as to the suitability of certain treat-
ment.

I enjoy reading CLOSE UP. I think it is a fine
magazine, and I hope that it will be the issue of OPPORTUNITY in which
Robert Benchley's review of Hearts in Dixie was published and
in which Floyd Covington's "The Negro in the Motion Picture
Industry" appeared, may be of some aid in the preparation of
your special Negro Motion Picture number.

I did not mention in my article the attempts of
Negroes themselves to produce pictures. Up to this time these
attempts have been disappointing--lack of proper equipment--
lack of intelligent direction--lack of thematic material--
making all efforts crude that I have had the opportunity to
see.

enc.
FAC/MLA.

The Editor,
The Close Up,
24 Devonshire St.,
Queen's Square,
London, W. D. I.,
England.

Very sincerely yours,

Elmer A. Carter,
EDITOR.

C/o Vogue,
Aldwych House,
Aldwych.
London, W.C.2.

5th November.

Dear Mr. MacPherson,

I should have written before
to thank you for the ticket for "Borderline"
and for the helpful, if discouraging advice you
gave me. After your sad tale in the December
Close Up, the tale of how your friends look
embarrassed and only make fleeting allusions
when Borderline is mentioned, I felt that
perhaps the appreciation of a much-indebted
acquaintance would not be an impertinence.

For, in spite of the critics,
I really did like "Borderline". I don't think
it will ever be popular in England, for the
reasons stated in your article, but I cannot
understand why people who call themselves
intelligent, and usually are intelligent, did
not appreciate it. It really conveyed to me
the subconscious impulses of the characters,
particularly in the scenes between individuals,
between the negro couple, between manageress
and her customers, between the white couple
(although not so much in this case). My next
remark is an insult or a compliment, depending
upon your opinion of D.H.Lawrence. It is meant
a compliment. The scenes between the negro
couple managed to convey extraordinarily clearly
that magnetic flow, of sympathy, of antagonism,
of tenderness, between two people, in a way that
no film has ever done before, and that only
Lawrence, in literature, has achieved, and under stood.

24 Croftdown Road

London, N.W. 5

Sat; November 8th. 1930

Dear Mr MacPherson,

Herewith the promised article on censorship for the December number, which I hope you will like.

Many thanks for the letter re Edinburgh: I am writing our people there telling them what you say.

Congratulations on November "Close Up". Some excellent stuff therein.

Additional congratulations on your leading article. I liked it. Frankly, I have not written a word anywhere on "Borderline". Deliberately. Because (what a confession) I did not understand it completely. And if I don't understand a thing I don't like talking about it as if I did. But because I did not grasp "Borderline" I see no reason why I should say that it was meaningless and obscure. I may have been obscure to me, but it wasn't to you and a great many always other people. But after all we can't all grasp in its entirety the other fellow's interpretation of an idea. But, after my sorrowful confession, best of luck with the film, and, again, thanks for the leader.

Herewith a couple of programmes of our last show.

the little theatre

management: moviegraphs of maryland, inc.

five-twenty-three north howard street

baltimore

office of the manager

Oct. 16th, 1931

Miss W. Bryher,
Close-Up
26 Litchfield St.
London W.C. 2

Dear Miss Bryher:-

Your letter of the 1st inst. on hand and was
very glad to hear from you.

In reference to BORDERLINE, I have communicated
with my New York office and they have advised me that the
situation they met at the U.S. Customs Port Authorities was,
to wit: $35.00 charges to look at the film in bond and then
the film was to be shipped immediately back (presumably to
Switzerland, if that where you say the directions for its
return was stated on the case). But, it seems that my home
office was willing to pay this $35. charge if they could
secure the film for two reasons:

1. To submit it to the New York State Board of Motion Picture Censors.

2. And, if passed by them, then to see what could be done towards undertaking distribution for the film.

Films are generally looked at under bond by my
home office only when they have doubts as to the merit of
the production offered to them and wish to look at it be-
fore entering into negotiations for them with the producer
in Europe. But, since I have sold them the idea that BOR-
DERLINE is a film they could really exploit to advantage
in America, they are willing to take it out of bond, if
directions permit, and see what can be done with it. (I have
already written you before that they have distribution
facilities for handling films of this type)

Only one step remains to be done, as I see it.
I presume that the print of BORDERLINE is still at the
Vernon 7641

dedicated to the presentation of distinguished motion pictures

the little theatre

five-twenty-three north howard street
---
baltimore

2....

office of the manager

U.S. Customs Port Authorities, waiting further decision, on the
parts of either the shippers (M. Vittet) or the consignee (which is
ourselves).

Could you ask M. Vittet to release the print of BORDERLINE, if the charges are paid, so that we may secure the print for censoring. Of course, if the censors don't pass it and we see no way of getting it passed in any of the other states, we will return the print directly to you. But, you understand, don't you, that we must have the print in our possession first? Otherwise, even if we look at it in bon, and pay the charges, the U.S. Customs will order the print shipped back - and we'll be no further advanced in releasing BORDERLINE in America than we were before.

Upon re-reading your letter, I thought that there might
be some misunderstanding at this end on the grounds that the film
was marked "For Return To Switzerland" - but not meant for immediate
return. If this is the case, a letter or cable to the U.S. Cust-
oms men would take care of that matter.

If we secure the film for distribution in America, we will,
no doubt, rent it to Mr. Kraska, of the Fine Arts Theatre, in
Boston, as that is the only avant-garde house in that city. There
are, at this writing, one in Hollywood, three in Chicago, two in
Newark, one in Philadelphia, and several in New York, be-
sides my own in Baltimore, which are functioning consistently, and
which would be able to run this film. I don't know how many more,
but of these I am quite certain.

I hope we can finally straighten this out as I would
very much like to see Mr. MacPherson recognized as a producer in
America. From what I gather, BORDERLINE should cause no end
of comment in the intellectual circles here.

I have noted Mr. Birt's documentary film, and have
placed his address in my files. I am presenting a number of
interesting short films on my program this season, including
Eisenstein's "Romance Sentimentale"; Walter Ruttman's "Melodie
der Welt" and "Seeing Germany in 15 Minutes"; Sovkino's sound
cartoon "Mail" (have you seen it? It's charming) and the Watson-
Webber "Fall of the House of Usher", which you should not miss
if it ever plays anywhere on the Continent. We are always on the
look-out for unusual short films running anywhere from 10 minutes
to half an hour in an endeavor to get away from the banal American

Vernon 7641

. dedicated . to . the . presentation . of . distinguished . motion . pictures .

the little theatre

baltimore

3..

office of the manager

program-filler type of short subject.

I am enclosing the Dreiser-Paramount case re "AN AMERICAN TRAGEDY" which you can use in anyway you care to. It's official and a rather curious document in the annals of American cinema history.

Things, politically and economically, are hardly much better than in Europe. Sarcasm against the government is rife without end against the political potentates and their cohorts who have been promising an end to the "depression" for two years now. Unemployment and strikes continue to add to the general unrest. This with recent corruptions in high political circles brought to light have, with that cosmic farce of the twentieth century - prohibition - caused many people to lose faith in America as a provider and even if a revolution broke out here (which won't happen, because there's always enough food and shelter for the great middle-class in America which comprises the great bulk of the population) it wouldn't surprise anyone.

Nothing particularly encouraging from Hollywood, either. Von Stroheim is acting - they won't let him direct, so he must submit to the direction of his inferiors! King Vidor is to do "Grand Hotel" (from Vicki Baum's novel) for MGM at this writing. They've been wanting Lewis Milestone for this, but he asks too much for his services. Lubitsch's next is "The Man I Killed" - a drama, his first since "Three Women". Many old silent films are being re-released into talkies - speaking of a paucity of ideas in Hollywood for the sound film.

I presented Rene Clair's "Le Million" several weeks ago, and it did not take at all, tho' his "Sous les Toits de Paris" did very well last season. "Zwei Herzen im 3/4 Takt" ran for 50 continuous weeks in New York. This week, I brought it back for a return engagement (the third time) and broke all house records with it. This film is the one phenomenon of the last five years in the movies as far as box office goes. I think we are handling von Bolvary's "The Theft of the Mona Lisa" in American too.

Eisenstein's Mexican film is, I hear, in New York, being edited. I have heard he has been asked to return by Sovkino for another Russian revolution anniversary film.

Vernon 7641

the little theatre

baltimore

office of the manager

4..

I expect to send the print of my film, AUTUMN FIRE, to you shortly. I will write you when I send it. Please advise me what the correct procedure in shipping this film to England is, so that we don't have to go through difficulties similar to those encountered with BORDERLINE on your end.

I am preparing a script of a one reel film inspired by Baudelaire's "Epilogue" from the Fleurs-de-Mal as my next venture into films.

Ozep's KARAMAZOFF received great praise in New York. I am showing it next month. I am anxious to see Pabst's new film. I though THE BEGGAR'S OPERA a colossal, fabulous thing - almost too good to be true! Foerster is fine in Czinner's ARIANE, too.

I shall look forward to receiving the December issue. CLOSE-UP is the one consolation for me in the world of the artistic cinema - outside of the actual good films. I have even gotten the Enoch Pratt Free Library (of Baltimore) to subscribe to it for their files. Have you heard from them yet?

Best personal regards - and thanks for your good wishes, I am feeling much better, now that I am back into the swing of things again.

Vernon 7641

FROM THE OFFICE OF THE PRODUCER

GERRARD 2091/2092

H. G. CASPARIUS (MEMBER OF THE BRITISH FILM ACADEMY)

32, GREAT WINDMILL STREET,
LONDON, W.1.

24th August, 1960.

Dear Madam Bryher,

I do hope you remember my name after all these years
and my connection with Pabst and Metzner.

Much water has been passing under the bridges since
I saw you last in Vienna and I have been told that you are
a very successful writer of international reputation.

You very likely may have forgotten, what I shall never
forget, - how you did help me in Vienna after my emigration
from Berlin and I am still after all these years grateful
to you for what you did.
But you have done more than you perhaps know. - you have
influenced my thoughts through arranging my meeting with Prof.
Freud in Vienna.

In the last ten years I have concentrated on the production
of short and documentary films, - my speciality are films based
on classical music. I have just finished a short film called
"DRUMS" which I have produced in partnership with Messrs.
Macmillan, the publisher of Grove's Dictionary of Music.
I believe you are coming sometimes to London and I would love
to screen this film to you.

I am working on a new short film dealing with spychoanalyse
and this brought back to life these old memories and I feel I
should write to you.

Perhaps you care to drop me a line occasionally.
This would give me much pleasure.
In the meantime I remain with kind thoughts and all good wishes

Madame Bryher,
Villa Kenwin
Burier la Tour,
Vevey,
Switzerland.

FILMS FOR THE CIRCUITS AND TELEVISION

THE YOUNG TRAVELLER IN LONDON
WE GOT WHAT IT TAKES
ALBRECHT DURER'S APOCALYPSE
FINGAL'S CAVE
YOU TAKE THE HIGH ROAD (EDINBURGH)
A RIVER SPEAKS (FLORA ROBSON)
SIMON (VENICE)
10 BRIDGES (EDINBURGH)
RETURN FROM THE SUN

FILMS FOR THE INDUSTRY:

SIMPSON AND GODLEE (COTTON)
BATA SHOES
I.D.T. LTD., AUSTIN/CROMPTON PK.
NAT. COAL BOARD
DORMAN SPRAYER
PHOENIX HOUSE PUBLISHER
P. & M. Co. LTD. CALTEX
(RAILWAY LUBRICATION)
FATSTOCK MARKETING CORP.
MECHANICAL HANDLING
NORTH EAST DEV. ASS.
BRIDGES TOOLS

The Swiss at that time were totally uninterested
in Robeson being a negro, there was no color
prejudice anywhere. It would be different
today. They accept colored people but there
is exactly the same problem between Swiss and
imported Italian labor. They denounce the
Italians in the same words used in some places
about Negroes. I think it is " job and school
friction " much more than color that causes
trouble.

6th November 1968

Dear Professor Cripps,

I am very sorry not to have answered your letter of the
19th September before but I have been away. You want to
know about *Borderline* and Paul Robeson.

I fear I cannot help you very much. I can only refer
you to Close Up and give you my own impressions of the making
of Borderline as when we were threatened by a German invasion
in May, 1940, I burnt all the documents I had connected with
the film for the safety of persons concerned. We had already
received our instructions as to what to do if the Germans violated
Swiss neutrality, everyone was to resist passively or actively
from the ages of six to eighty. Still, to avoid anyone
getting into difficulties through documents, I burned all letters,
papers and so on that I had.

Going back to what I can remember of *Borderline* days, it
was quite a feat. It was experimental, we managed to hire a
hall at Lutry, between Vevey and Lausanne, along the lake. I
think there was a small gallery but may be mistaken but at any
rate my job was to change the carbons on the arc lamps, a messy
job, I think a year or so later, the method disappeared. The
only thing was, between whiles I could observe what was happening
on the set.

Paul Robeson had been singing at a London theatre. He
knew that cinema was taking the place of actual theatre to a very
large extent, wanted to try himself out on film without being
committed to the film being shown in a commercial cinema.
Borderline was shown in thirty or four cinemas but always to
film clubs and experimental groups. Oddly it was most
successful, we were told, in Spain. In Germany, it was not
liked but the film director, Pabst, found the technique exciting
and sent all his cameramen to see it. In England, they could
not understand it. As far as I know, nobody made any comment
about Robeson being colored. But - as I wrote - it was shown
to experimental groups who were interested in the technique.
Actually Robeson was the only professional actor in the film.
The story was due to Kenneth Macpherson who directed *Borderline*
and worked on the lighting.

I did keep a lot of material on *Borderline* and film
scraps but as I have written above, I destroyed them when the
invasion threat was announced. I was at above address at the
time, returning to London a few months later till the end of the
war.

I may be moving from here in another year and I have
been going through old papers, if I should find anything to do
with the film. I would let you have a copy but I fear it is unlikely