STAR OF BETHLEHEM is the traditional nativity story told along the lines of a medieval miracle play. The film is an example of how Miss Reiniger has developed her silhouette film technique with the use of coloured backgrounds. These backgrounds have the fresh vitality of stained glass windows. The film is of unusual visual interest and so too is Lotte Reiniger's treatment of the story. She has given it something of a mythological aspect by introducing certain characters and themes that are rarely included in the familiar narrative: ill omens impede the path of the three kings on their journey to Bethlehem. The tale tells also how King Herod fears the newborn Child and resolves to destroy him and how his soldiers are thwarted by an angel. The music for the film was specially composed by Peter Gellhorn. Many of the carols sung especially for the film by the Glyndebourne Festival Chorus are now unfamiliar Christmas songs of the past which give the film a further unique interest. And like Lotte Reiniger's other films, "Star of Bethlehem" is utterly timeless and its quite unusual treatment of a familiar theme makes it ideal for any international audience. It is available in 35mm or 16mm format, in Colour or black and white, in English or International versions and runs for 18 minutes.

DER STERN VON BETHLEHEM erzählt die Weihnachtsgeschichte in der Art der mittelalterlichen Krippenspiele. Der Film ist ein Beispiel dafür, wie Lotte Reiniger ihre Silhouettentechnik durch farbige Azetat Folien bereichert hat. Diese Hintergründe haben die frische Lebendigkeit von farbigen Kirchenfentstern. Der Film ist von besonderem optischem Interesse, ebenso wie Lotte Reiniger's Behandlung der Geschichte. Sie hat ihm durch die Anwendung ungewöhnlicher Symbole und Motive einen mythologischen Charakter verliehen. Feindliche Geister versuchen, die "Drei Weisen aus dem Morgenland" auf ihrer Reise nach Bethlehem zuverhindern; der König Herodes fürchtet das neugeborene Christkind und trachtet es zu töten, aber ein Engel verhindert seine Soldaten an ihrem bösen Tun. Die Musik ist eigens für diesen Film von Peter Gellhorn komponiert. Viele dieser Weihnachtsmelodien, gesungen von dem berühmten Glyndebourne Festival Chorus sind traditionelle alte Weihnachtschoräle, die heute fast vergessen sind und dem Film einen weiteren einzigartigen Charakter verleihen. Ebenso wie Lotte Reiniger's andere Filme, ist "Der Stern von Bethlehem" völlig zeitlos. Die individuelle Darstellung des vertrauten Themas machen ihn höchst geeignet für jedes internationale Publikum. Der Film kann in 35mm oder 16mm Format, farbig oder s/w, in englischer oder internationaler Version geliefert werden. Dauer: 18 Minuten.

L'ETOILE DE BETHLÉEM est l'histoire traditionnelle de la Nativité, racontée à la manière d'un drame religieux du Moyen Age. Le film est un example de la façon dont Miss Reiniger a développé sa technique de silhouettes pour le cinéma en utilisant des arrières-plans de couleur. Ces arrières-plans ont la fraîche vitalité de vitraux. L'intérêt visuel du film est peu commun, ainsi que la manière dont l'histoire nous est contée par Lotte Reiniger. Elle lui a donné un aspect quelque peu mythologique, en introduisant certains personnages et thèmes qui sont rarement compris dans ce conte si familier: des diables se mettent en travers du chemin des 3 rois, au cours de leur voyage à Bethléem. L'histoire nous parle également de la jalousie du Roi Hérode envers le nouveau né et de sa décision de le supprimer, ainsi que la manière dont ses soldats sont menacés par un ange. La musique du film fut spécialement écrite par Peter Gellhorn. Plusieurs des cantiques de Noël qui furent chantés spécialement pour le film par les Choeurs du Festival de Glyndebourne ne nous sont plus maintenant familiers, ils sont devenus des cantiques du passé et donnent ainsi au film un intérêt unique de plus. De même que les autres films de Lotte Reiniger "L'Etoile de Bethléem" n'a pas d'âge, et la manière peu commune dont un thème aussi connu a été traité en fait un film idéal pour une audience internationale. Il peut être obtenu en format 16mm ou 35mm, en couleur ou noir et blanc, en anglais ou versions internationales et sa durée est de 18 minutes.

B

Saturday tv

10.30 Colour
Review

Presented by James Mossman

*Anthony Rossiter:* ‘I don’t know anyone except possibly Virginia Woolf who has such a sense of the poetry of objects, of the visible as a world of sacramental signs.’ W. H. Auden on the work of Anthony Rossiter. Like a pendulum – the name he gave his autobiography – Rossiter swings between joy and inspiration and the fear of madness.

Directed by LESLIE MEGAHEY

*Rebuffed Lover*

Two more poems requested by viewers: Marlowe's *Passionate Shepherd to his Love* read by MARTIN SHAW and Sir Walter Raleigh's crushing *Reply to Marlowe* by the shepherdess, read by JANET SUZMAN.

Lotte Reiniger is one of the most original figures in the history of the cinema.

Nearly 50 years ago she made the first full-length cartoon film – *The Adventures of Prince Achmed*.

Tonight REVIEW looks at her unique method of working and shows for the first time on television a section from *Prince Achmed*, which having been lost for many years has just been reprinted with sound and in the original colour.

Adapted for television by TERENCE DIXON

Producers PETER ADAM

DARROL BLAKE, CHRISTOPHER MARTIN

Editor JAMES MOSSMAN †

The British Film Institute
March 21 - Jun 1942

The governors of the British Film Institute will present their ninth annual report early next month. It records a steady membership, in spite of war's exigencies, and remarkable developments in the preservation work of the National Film Library and in the progress of its child, the loan section. The library's acquisitions during the year include not only current news reels, documentary films, and feature films but also some important early works. Among these are Lotte Reiniger's only full-length silhouette film, "The Adventures of Prince Achmed" (1928)—the library has the most complete collection of Lotte Reiniger's films known. This is one of the London Film Society's magnificent collection of 123 films, which includes major works by Vigo, Epstein, and Bartosch, and many others. The collection forms nearly half the library's total acquisitions.

The library's loan section, devoted now to the development of film application, has had requests from New York's Museum of Modern Art, from Hollywood, from Canada, and from Stockholm for its composite film Cavalcanti's "Film and Reality." This remarkable essay in film criticism of the film was noticed in your columns in February.

after the Japanese attack of December 1937 and the fall of the Empire of Japan (left) and of the British Commonwealth (right), which has now rejoined the American

The Free Churches

## THE FESTIVAL OF THE FAMILY

"When home life, with its sanctities, its simplicity, its calm and deep joys and sorrows, ceases to have its charm for us in England the greatest break-up and catastrophe in English history will not be far off." It is nearly seventy years since these grave monitory words were spoken from the pulpit of St. Paul's Cathedral by one whom I have always counted the best and wisest of the many distinguished men who have filled the office of Dean in London's great church. It seems fitting to recall them on the eve of Christmas, which for us Englishmen is, above all other days, the festival of the family.

Yet for all those for whom the Dean speaks there is no denying that the omens just now are gravely disquieting. Thousands of little children will this year have to "keep the feast" as best they can in the homes of strangers. Tens of thousands of husbands and fathers, scattered the world over, will find little or no relief from the grim tasks which

# WHAT ONE PUBLIC SAYS IT LIKES

## Comments on the Bernstein Questionnaire by RICHARD FORD

THE RESULTS of Mr. Bernstein's fifth questionnaire are now available. That in itself is remarkable, for Mr. Bernstein is the only director of a circuit of cinemas (about 14 in the London area and 14 in the provinces) who has systematically issued questionnaires to his patrons.

In February, 1937, 325,000 questionnaires were "issued" and 160,000 were "completed and returned." Without knowing the exact meaning of these terms, the return—about 50 per cent of the total—is astonishing. In normal inquiries of this type, where no inducement is offered, a 10 per cent return is good, but this 50 per cent return suggests that the cinema public is very keen indeed to give its views, when opportunity is given.

The most attractive questions, from the public's point of view, concern film stars. "Who are your favourite film stars?" Answers show that Gary Cooper, Clark Gable, and Charles Laughton; Norma Shearer, Myrna Loy, and Greta Garbo top the list. But what help is this to Mr. Bernstein when Norma Shearer and Greta Garbo appear in about one film every two years?

"Which Stars do you dislike most?" Answers show that James Gagney, Ralph Lynn and Charles Chaplin; Mae West, Greta Garbo, and Marlene Dietrich top the list. This question reveals the fundamental misapprehension that pervades much of this inquiry. Mr. Bernstein, like all other exhibitors, knows that James Gagney and Mae West are box office attractions, and Garbo, Dietrich and Chaplin are even bigger. The answers to this question are valueless because the public does not normally dislike a star, but dislikes the rôle he (or she) plays. The public will, therefore, continue to flock to the film stars they "most dislike," provided they are suitably publicised. Was this perhaps revealed in the answers which Mr. Bernstein does not publish, to a subsequent question: "Do you actually stay away from a cinema where a film is showing which features any of the stars you dislike?"

The answers to the next question: "Which small part players would you like to see in star rôles?" may be useful for producers, but the players named are mostly character actors (Eric Blore, Una Merkel, Helen Broderick) who could not sustain full length leading parts. The small part players, named in earlier questionnaires, who are now stars (Franchot Tone, Ginger Rogers, Robert Donat) have altered their style or have matured with experience. The question only reveals which small part players are liked.

But what is the value of the question: "What kind of feature films do you prefer?" The categories named are Society, Drama, Comedy, Historical, Musical Comedy, Love-Romance, War, Thriller-Adventure. The fact is that every popular film contains at least two or three of these categories inside it, and it is the balance or mixture of them that makes the film good box office or otherwise. This question should deal with the elements of which films are composed, but no one except a trained psychologist could provide the answers. The replies put Historical films very low in the list, but who has seen a historical film that does not contain elements of Thriller-Adventure, Comedy, Love-Romance or War, either singly or combined?

The question "What kind of Short Films do you like?" is much happier; and the results in the following order— Cartoons, Travel, Sport (men), Musical (women) would be generally endorsed and indeed are generally known.

"Do you object to Advertising Films?" obtains a 50 per cent Yes, 50 per cent No reply. The editors of the Report point out that "No" answers may be influenced "by a desire not to seem impolite." One might also suggest that the public does not recognise an advertising film if it is sufficiently wrapped up in entertainment. There follow the preferences for double-feature and single-feature programmes. These are entirely a matter of local habit; and the 80 per cent preference for double features probably reflects the existing habits in the localities of the Bernstein cinemas. The size of the minority which prefers single feature programmes is worth noting.

"Name your Favourite Film Director and which of his Films did you like best?" reveals a growing awareness to the Director's name. Fourteen directors are mentioned; the first six are Capra, Korda, Van Dyke, Hitchcock, Lloyd, de Mille. (The current publicity description of the director of You Only Die Once, as Fritz "Fury" Lang is relevant).

The answers to questions concerning press film gossip are not published; but the surprising fact emerges that over 40 per cent of the replies "listen-in to B.B.C. film criticism"—surprising, because the B.B.C. are said to be searching for the right policy in film criticism. The question should have been sub-divided into listening "regularly" and "occasionally." And how many said "Yes" to please the authorities?

"How many times a week do you usually go to the Pictures?" The comparative results are interesting; twice a week (43 per cent in 1934, 45 per cent in 1937). Once a week (27 per cent in 1934, 30 per cent in 1937). Three times a week (12 per cent in 1934, 14 per cent in 1937). The last figure is significant.

Some of the suggestions for improving cinema entertainment are well worth noting: Cast lists at the end as well as the beginning of films; quicker releases; bigger and better ashtrays; cover for outside queues; a rigid ban on the consumption of peanuts; newspapers should devote weekly film news to general releases, not to West End programmes.

The final question asking filmgoers to put "Outstanding," "Good," "Fair," or "Bad," against a list of films is a request for one word obituary notices. The practical purpose of this question is elusive. Both *Modern Times* and *Things To Come* get heavy "bad" votes, and *Mutiny on the Bounty* heads the "outstanding" votes.

But how far do the results influence Mr. Bernstein or anyone else. How far should they? They certainly add to our knowledge of what other trades call "Consumer preference." The public which fills in the forms and reads the results may hope for more of their "likes" and less of their "dislikes" in the future. But what of the people who do not complete questionnaires and how far are those who do answer representative of those who don't? Would it be possible, one wonders, to devise an inquiry which would really produce results of sociological and psychological value. Time, and Mr. Simon Rowson, may show.

70

the Lying-in-State, and particularly to oversea readers, of the beauty of the spectacle in the Hall. It shows the catafalque, draped with the Royal Standard, surmounted by the Crown, Sceptre and Orb, and guarded by officers of the Household Brigade, Gentlemen-at-Arms, and Yeomen of the Guard, with the grey stone walls and the timbered roof of the building in effective contrast. The photograph was taken on a Dufay-color Film, which can be used in an ordinary camera, and exposed in the usual manner, the colours being in the film itself, and becoming visible as soon as the picture is developed.

The size of the reproduction will be 9½in. by 12⅝in., and it will be on art paper equal in size to a page of *The Times Weekly Edition*, or to half a page of *The Times*. It will be inserted loosely in every copy of next Thursday's issue of *The Times Weekly Edition*, which will be sold at the usual price, 4d. The postage will be 1½d. inland and to Canada, and 2d. elsewhere.

The subscription rates of *The Times Weekly Edition* are:—Post free, British Isles and Canada, three months, 5s. 6d.; six months, 11s.; 12 months, 22s. Other countries:—Three months, 6s. 3d.; six months, 12s. 6d.; 12 months, 25s. These rates include the special Colour Numbers published from time to time.

## A CENTENARIAN

Mrs. Robert Burrows died on Saturday at Gourock, on the Clyde, at the age of 103. She was born in Perthshire in April, 1832, in the reign of King William IV, and had thus lived in the reigns of five Sovereigns. Until a short time ago she was in possession of all her faculties. She could faintly remember the Coronation of Queen Victoria.

Sullivan, both stated to be of Devon Drive, Nottingham, who are on remand charged on a coroner's warrant with the wilful murder of Miss Ada Louisa Baguley.

Mr. R. A. Young, making the application, said that the application had been adjourned last Friday for the police to make inquiries, and he understood that their report showed that the case was one in which legal aid could properly be granted. The defence was in his hands, and at the moment Waddingham and Sullivan were both anxious that it should so remain.

Chief Superintendent Downs said that the case seemed to be a suitable one for granting legal aid. Waddingham and Sullivan had no means.

## LICENSING BILL PROPOSALS

More than 200 members of Parliament have been furnished with copies of the Licensing Bill and asked to take part in Private Members' ballot at the House of Commons on Thursday with the object of ensuring Parliamentary facilities for the measure. The two main objects of the measure are to extend and make uniform the hours of sale and supply of intoxicating liquor, and to keep bogus clubs off the register. It is proposed that the permitted hours of sale and supply in any licensed premises or club should be 12 on each week-day, from 11 a.m. to 11 p.m., and six on Sunday, from noon to 3 p.m. and between 7 p.m. and 10 p.m. In the case of bona fide sports clubs, the six hours of supply on Sundays may be such as are fixed by the rules of the club within the limits of noon and 10 p.m. Stringent provisions are proposed with the object of keeping off the roll of registered clubs any club which cannot justify its claim to be constituted and supported for some legitimate purpose.

INHALTSANGABE

1. Die alte Meermuschel

Es war einmal eine Meermuschel unbestimmbaren Alters, die im Ruf großer
Weisheit stand. Alle Wasserwesen ließen sich von ihr beraten; zwar gingen
bloß Blasen aus ihrem Mund hervor, aber jeder hörte etwas anderes heraus.
Kühleborn, der Herr der Gewässer, besaß unzählige Töchter; aber nur einer,
der geliebtesten, gab er einen Namen: Undine. Undines lebhaft träume-
rischer Geist beschäftigte ständig die Frage, was jenseits des Wassers sei:
so schwamm sie zu der Muschel und ließ sich von den Menschen erzählen,
die eine Seele besitzen sollen: Undine möchte auch so etwas Wunderbares
haben.

2. An der Grenze zweier Welten

Bald brachte Undine die meiste Zeit damit zu, Ausschau nach einem Men-
schen zu halten: sie sah einen, und der war so himmlisch schön, daß sie
vermeinte, einen Gott vor Augen zu haben. Es war der Junker Dago von
Kulm, ein wahrer Ritter ohne Furcht und Tadel; sogar dermaßen ohne Tadel,
daß die schönste und intriganteste der Hofdamen, Bertha, ihm riet, auszu-
ziehen und wenigstens das Fürchten zu lernen. Dago gebot Undine im
Namen des Höchsten, sich hinweg zu heben, falls sie ein böser Geist sei.
Undine verstand von derartigen Dingen rein gar nichts; und als Dago be-
griff, daß hier keine der üblichen Heldentaten zu vollbringen sei, bat er
sie, sich neben ihn zu setzen, weil der feuchte Strand eine höchst unge-
sunde Liegesstatt sei.

3. Es dämmert

Undine und Dago dämmerte, daß sie sich etwas zu sagen hatten, und den
Junker überkam die Erleuchtung, er könne kein größeres Abenteuer be-
stehen und seine Furcht besser überwinden, als wenn er Undine mit an
den Hof des Kaisers als seine Frau brächte. Undine schenkte Dago ihr Herz,
und beide machten sich auf den Weg zur kaiserlichen Pfalz.

4. Im Walde

In einem Walde hatten beide sich verirrt und lagerten – ganz gegen Undines
Willen – an einem Bach. Als Dago eingeschlafen war, kam Kühleborn und
versuchte, Undine zu bestimmen, mit ihm zu gehen. Undine erwiderte, das
sei ausgeschlossen: sie habe Dago ihr Herz geschenkt. Darüber war Kühle-
born sehr erbost und drohte: Dago möge sich in acht nehmen und das
Herz nicht verlieren; es sei sonst um ihn geschehen. Dago erwachte, und
Kühleborn entschwand; Undine aber war fest überzeugt, ihr Liebster sei
ein Gott.

5. Am Kaiserhof

Der Erfolg Undines bei Hof war groß; man wagte bereits, vor vertrauten
Freunden das Wort Hexerei zu verwenden. Nur vor dem Kaiser und der

schönsten Hofdame Bertha verstummten die spitzen Zungen; denn jener
liebte die beiden Kulm wie seine eigenen Kinder, und diese lachte über
die dummen Weiber, die keine andere Erklärung als Hexerei fanden.

6. Die Reiherbeize

Undine vermochte ihrem Gatten nicht zu folgen, wenn er sich in die Ge-
schichten alter Ritter versenkte und auf die Jagd gehen wollte. Bertha aber
verstand es, widerhakige Reden in süße Worte zu kleiden und war sicher,
als sie mit Dago zur Reiherbeize ritt, den Ritter als Beute heimzubringen.

7. Im Palastgarten

Der Kaiser versuchte, die traurige Undine durch die Späße seines Narren zu erheitern. Nichts fruchtete. Endlich ließ er die von einem fremden Händler erworbene Muschel bringen: jeder hörte, was er hören wollte; aber Undine vernahm nur: „Vorbei – vorbei". Sie brach zusammen.

8. Am Waldweiher

Die Eulen hatten erfahren, daß Dago Undines Herz verschenkt hatte, damit es dem Hunde Amour zum Fraße vorgeworfen werde: Amour verweigerte es.— Bertha und Dago kamen von der Beize zurück; Dago vernahm die Stimme Undines. Endlich erschien Kühleborn und verdammte Dago und Bertha zu ewigem Alleinsein.

9. Wiederkehr

Im Meer änderte sich nichts. Undine holte sich bei der weisen Muschel Rat.
Das Spiel konnte von neuem beginnen...

(Nach W. M. Treichlinger)

## THE SILHOUETTE FILM

LOTTE REINIGER with her husband CARL KOCH, pioneered the development of the animated film. Working in Berlin in the early twenties—the Golden Age of the German cinema—she devised and perfected her techniques through several years before embarking in 1923 on the full length feature THE ADVENTURES OF PRINCE ACHMET. Uncompromising towards the Nazis, she came to England in 1934 and joined the famous G.P.O. Film Unit. The negatives of most of the films she had made were destroyed during the war, but prints which had been lodged at the National Film Library enabled Primrose Film Productions to make duplicate negatives.

After a successful live B.B.C. television series of shadow plays, she produced with Primrose Productions a series of 13 films based on traditional fairytales which are still being shown all over the world. One of them, THE GALLANT LITTLE TAILOR, won first prize at the Venice Film Festival of 1955 and many other of her films have gained international awards.

Lotte Reiniger's figures and designs are created by free-hand scissor cutting. The depth and delicate tones of the backgrounds, made from varying layers of tissue paper, are photographed on a horizontal glass plate lit from below. Different figures are made for close-ups and long shots—the detail and silhouette in each case being subtly different. Her recent films are shot in colour and she uses graduations of coloured gelatine to obtain her landscape effects.

Lotte Reiniger's art is unique, a source of eternal fascination. She is rightly considered to be one of the greatest artistic figures working in the cinema.

## THE ADVENTURES OF PRINCE ACHMET
1923-1926

This, the first full length animated film in the history of the cinema, is still outstanding in its ingenious and revolutionary use of the film medium. Walther Ruthmann and Bertolt Bartosch were among the great German cinéastes who collaborated in its making. It achieved overwhelming success particularly in France, where directors René Clair and Jean Renoir distributed programmes on the opening night.

The story is taken from the Arabian Nights. It tells of the love of a poor tailor for a beautiful princess and the battle between the white spirits of the magic lamp and the mythical and monstrous djins and afreets.

The film retains the original silent titles, but has a specially composed music score. After more than forty years it is still as fresh and exciting as when it was made.

### THE STAR OF BETHLEHEM

The traditional Nativity Story performed as a Medieval Miracle Play, with music specially composed by Peter Gellhorn, and sung by the famous Glyndebourne Chorus
Colour 20 mins.

### CINDERELLA

A charming version of the best known fairy tale of all.
10 mins.

### HANSEL AND GRETEL

Another classic tale by the Brothers Grimm, gracefully brought to life.
10 mins.

### PUSS IN BOOTS

The story of the miller's son who married a princess with the help of a feline friend.
10 mins.

### SLEEPING BEAUTY

The Princess who pricked her finger and slept for a hundred years until awakened by a kiss.
10 mins.

### ALADDIN

The Arabian Nights story of a poor tailor, a Genie, the Caliph's daughter and a sorcerer.
15 mins.

### THE FROG PRINCE

A princess drops her golden ball into a well. It is saved by a frog who becomes her companion and then turns into a prince
10 mins.

### THE THREE WISHES

Martin, a poor woodcutter frees a fairy trapped in a tree and is given a magic ring that will grant him three wishes
10 mins.

### THE MAGIC HORSE

The Arabian Nights story of a Prince, a flying horse and bird princess
10 mins.

### SNOW WHITE AND ROSE RED

The enchanting story of two little girls who make friends with a bear who is really a prince.
10 mins.

### GRASSHOPPER AND THE ANT

The story of foolish Mr. Grasshopper and wise Mrs. Ant, based on the Fable by La Fontaine.
10 mins.

### CALIPH STORK

The Caliph of Baghdad is turned into a stork by his wicked uncle, but soon has his revenge.
10 mins.

### GALLANT LITTLE TAILOR

A cunning little tailor first kills flies and then by using his wits kills giants.
10 mins.

### LITTLE CHIMNEY SWEEP

In eighteenth century London, a little chimney sweep rescues a rich young heiress from the clutches of an evil nobleman.
10 mins.

### THUMBELLINA

The adventures of Thumbellina, a tiny little girl born from a beautiful flower.
10 mins.

### JACK AND THE BEANSTALK

Jack's adventures begin when he is sent off to market by his mother to sell their only pig.
Colour 10 mins.

CLASSICS

DR. DOLITTLE

Three tales of exploration in Darkest Africa based on Hugh Lofting's famous Dr. Dolittle stories. 1928, Silent, 25 mins., or available as three separate films, sound, each 10 mins.

CARMEN

Based on themes from Bizet's 'Carmen' ending with a humerous treatment of the bull fight. 1933. No Dialogue. 10 mins.

PAPAGENO

The Bird Catcher from Mozart's 'Magic Flute' in an enchanting fantasy. 1935. No Dialogue. 11 mins.

GALATHEA

A nude statue comes to life in classical Athens, driving men frantic and the women mad. 1935. No Dialogue. 12 mins.

HARLEQUIN

The amorous escapades of a casanova Harlequin set to 17th century music. 1931. No Dialogue. 24 mins.

THE STOLEN HEART

In a small German town, the peasants delight in making music, until one day an evil wizard conjures away the instrument. 1934. No Dialogue. 10 mins.

YOU'VE ASKED FOR IT

A fascinating record of Lotte Reiniger on her films. 10 mins.

Unless otherwise stated, all films are black and white, with music and English dialogue. To book on 16 mm or 35mm write or phone

CONTEMPORARY FILMS

55 Greek Street, London, W1V 6DB
(01) 734 4901 (6 lines)

Printed at The Ranelagh Press, Hampstead, NW3

SILHOUETTE FILMS

EXHIBITION AT VICTORIA
AND ALBERT MUSEUM

An exhibition of the silhouette films of Fräulein Lotte Reiniger has been opened in Room 71 at the Victoria and Albert Museum. They adapt to the purposes of the cinematograph two ancient art-forms, the puppet-play and the silhouette, and the exhibits are designed to illustrate both the completed films and the various stages of manufacture.

Fräulein Reiniger has been experimenting with silhouette films since 1919, and her method is to have her plays acted by fully articulated figures, cut in black paper or sheets of metal, which are seen against paper backgrounds. The figures and scenery are laid flat upon the " trick table " and photographed from above, being moved by their designer to their successive positions between each exposure of film. Every pose has to be sketched by her on paper beforehand, and so timed as to fit the accompanying sound-film.

Although there is only black and white in the finished production, the artist makes her preliminary designs in water-colour.

Among the films illustrated in this exhibition is *The Little Chimney Sweep*, which is being shown at the Tatler Theatre this week. The story is set in eighteenth-century London, and Fräulein Reiniger has adapted figures from drawings by Marcellus Laroon for some of her characters, and has made use of Hogarth prints and of an eighteenth-century room in the museum in designing her settings.

Other scenes, designs, and figures shown are from *Harlequin*, which is based on music by Scarlatti, Pergolesi, Rameau, and others from an Arabian Nights phantasy, "The Adventures of Prince Achmed," and from humorous versions of the stories of Carmen and Galatea. Fräulein Reiniger's films include also *The Rolling Wheel*, illustrating in silhouette the development of vehicular traffic, and *Papageno*, founded upon the famous semi-human bird-catcher in Mozart's *Magic Flute*.

# Märchen mit Schere

## Gast aus London: Lotte-Reiniger-Retrospektive der Kinemathek

„Ich liebe das Primitive", charakterisiert sie sich und ihre kleinen, reizvollen Werke in so gar nicht koketter Bescheidenheit. Dabei ist das, was sie macht, alles andere als primitiv. Es ist — und gerade das würde die Schöpferin ganz und gar als plumpe Schmeichelei empfinden — ausgesprochen inteligent. Lotte Reiniger, die ungewöhnliche Meisterin eines ungewöhnlichen Kino-Genres, kam aus London nach Berlin. Gestern zeigte die Kinemathek in der Akademie der Künste als Auftakt der Reiniger-Retrospektive einige ihrer wichtigsten Scherenschnitt- und Silhouettenfilme aus den zwanziger und dreißiger Jahren.

Es war mehr als nur ein netter Abend. Schade, daß so wenig Filminteressierte diese Gelegenheit, eine cinéastisches Kuriosum kennenzulernen, wahrnahmen. Heute und morgen ist das aber nachzuholen. Die Kinemathek zeigt in ihren Räumen in der Schlüterstraße noch weitere Filme.

► Die „Schnittsucht" der Lotte Reiniger begann schon in der Schule und wuchs sich später schlicht zur „Manie" aus. „Ich habe nicht aufgehört, Scherenschnittfilme zu machen. Ich bin eben nie erwachsen geworden."

Lotte Reiniger hat hauptsächlich Märchen verfilmt. Daß sie dabei einer sehr eigenwilligen Phantasie folgte, bekommt den Märchen prächtig. So verlegt sie etwa den Schauplatz des „Fliegenden Koffers" aus dem Orient nach Asien und verwandelt das Grimmsche Happy-End in Shakespeare-sche Tragödie: Der verliebte Kofferflieger feiert keine Prunkhochzeit, sondern stößt sich einen Dolch ins Herz.

NUR MIT SCHERE: Lotte Reiniger.

Technisch vollkommener sind bereits „Die Abenteuer des Prinzen Achmed" und noch weiter entwickelt — weil mit Ton — ist dann der „Papagallo" nach Mozarts Zauberflöte.

Auch jetzt noch macht Lotte Reiniger ihre Scherenschnittfilme. Im britischen Fernsehen dreht sie unermüdlich Kinderserien. Bevorzugtes Thema: griechische Sagen.

► Der Kinemathek für diese Retrospektive ein dickes Lob — besonders auch für die Vervollständigung der Filmschau durch eine Ausstellung, die heute in der Schlüterstraße eröffnet wird. Hier ist ganz genau zu besichtigen, wie und mit welchen Mitteln Lotte Reiniger ihre „kleinen Kunstwerke" produziert.

Lotte Reiniger, die „alte Berlinerin", lebt jetzt in London. Ihr Kommentar zur unverhofften Wiederkehr: „Wunderbar! Aber buhen Sie nicht." J. A.

ter... Tutti, Allegro.

Mit perfekten Gesten gibt der Dirigent den Einsatz, die Mitglieder des Radio-Symphonie-Orchesters folgen aufmerksam.

In den gelben Sesseln des Hochschulsaals sitzt ein kritisches Auditorium. Jede Bewegung und jeder Ton werden sorgfältig registriert, Bemerkungen notiert.

Was hier stattfindet, ist keine gewöhnliche Orchesterprobe, sondern eine strenge Prüfung. Es geht um den Händedruck des Meisters, es geht um 10 000 Mark, um Medaillen, um Ehre, Ruhm und vielleicht den Sprung auf die Konzertpodien der Welt.

Zum erstenmal veranstaltet die Herbert-von-Karajan-Stiftung einen Internationalen Dirigentenwettbewerb zur Förderung junger Talente.

► Aus aller Welt kamen die Bewerbungen, über 300 Nachwuchskünstler hofften auf ihre Chance. Doch nur 35 haben die Ansprüche der Jury erfüllt, nur drei werden übrigbleiben: Dekoriert, ausgezeichnet — Namen, die man sich merken muß.

Aus 14 Nationen kommen die 20- bis 35jährigen Teilnehmer, zum Teil können sie schon nennenswerte Erfolge aufweisen und besitzen jahrelange Erfahrung.

Hier im Parkett sitzen sie erstmal als Zuhörer, äußerlich ruhig, doch sicherlich mit den gleichen Gefühlen, wie ein Primaner vor dem Abitur. Die Partitur wird immer wieder durchgeblättert, man ist bereit, augenblicklich zum Taktstock zu greifen und seine Auffassung zu demonstrieren. Mit äußerster Spannung verfolgt man die Künste

KONZENTRIERTE ARBEIT: Die Kandidat

der Konkurrenz. Zehn Tage wird das Rennen dauern.

Jetzt ist Kandidat Nummer neun fertig, kurzer Diener, Abgang. Das Nummernschild am Podium wird aus-

DIRIGIERT MIT: Jury-Vorsitzender
Dr. Wolfgang Stresemann.

## Auf einen Blick

► **BEDENKLICHE**
Mangelerscheinungen hat gestern der Musikrat in München diagnostiziert. Er wies auf die

A

MONDAY

LUNDI

MONTAG

10.00 *Praesidium meeting at the College of Preceptors.

*Conférence du Présidium au College of Preceptors.

*Sitzung des Präsidiums. College of Preceptors.

15.00 †Official Opening of the Exhibition of Polish Puppets and of British Puppets Past and Present at the Bethnal Green Museum.

†Ouverture officielle de l'exposition des Marionnettes Polonaises et des Marionnettes Britanniques Vieilles et Modernes au Musée de Bethnal Green.

†Offizielle Eröffnung der polnischen Puppenspielausstellung und britisches Puppenspiel von Heute und Gestern. Bethnal Green Museum.

18.00 *Reception by the City of London Corporation at the Guildhall, followed by a performance of l'Amfiparnaso by the Lanchester Marionettes.

*Réception donnée par la City of London Corporation au Guildhall suivée par une représentation de l'Amfiparnaso par les Lanchester Marionettes.

*Empfang von der London City Corporation. Anschliessend l'Amfiparnaso (Lanchester Marionettes). Guildhall.

2

TUESDAY MARDI DIENSTAG

09.30 *Praesidium meeting at the College of Preceptors.
*Conférence du Présidium au College of Preceptors.
*Sitzung des Präsidiums. College of Preceptors.

14.00 *Tour of London by motor coach.
*Tour de Londres en autocar.
*Busrundfahrt durch London.

17.00 †Punch and Judy performance outside St. Paul's Church, Covent Garden.
†Représentation de Punch and Judy devant l'église de St. Paul en Covent Garden.
†Aufführung von Punch and Judy vor St. Paul's Church, Covent Garden.

18.00 Reception by the British Puppet and Model Theatre Guild and the Educational Puppetry Association at St. Gabriel's Hall, Glasgow Terrace, Pimlico, S.W.1. (Open to all foreign visitors and members of both organizations and their friends).
Réception donnée par le British Puppet and Model Theatre Guild et l'Educational Puppetry Association à St Gabriel's Hall, Glasgow Terrace, Pimlico, S.W.1. (Ouverte à tous visiteurs étrangers et aux membres des deux associations et leurs amis).
Empfgang der British Puppet and Model Theatre Guild und der Educational Puppetry Association (Zugänglich für alle Überseebesucher und Mitglieder beider Organisationen und ihrer Freunde). St. Gabriel's Hall, Glasgow Terrace, S.W.1.

20.00 †Puppet Miscellany at the Little Angel.
†Mélange de Marionnettes au Little Angel théâtre.
†“Puppenspiel-Allerlei”. Little Angel Theatre.

3

WEDNESDAY

MERCREDI

MITTWOCH

15.00 *Visit to B.B.C. Television Centre followed by Reception.

*Visite au Centre de la Télévision B.B.C. et réception.

*Tour mit auschliessendem Empfang. B.B.C.-tv Centre.

18.30 *Party at the home of the Hogarth Puppets, at the invitation of Jan Bussell and Ann Hogarth.

*Soirée au foyer des Hogarth Puppets sur invitation de Jan Bussell et Ann Hogarth.

*Abend bei Jan Bussell and Ann Hogarth (nur für geladene Gäste) im Hause der Hogarth Puppets.

4

THURSDAY

JEUDI

DONNERSTAG

14.30 †Performances by and for school children, arranged by the Educational Puppetry Association, at the College of Preceptors.
or

*Optional visit to A.P. Films Studios, Slough.

†Représentations données par et pour écoliers et écolières, dirigées par l'Educational Puppetry Association, au College of Preceptors.

ou

*Visite facultative aux Studios A.P. Films à Slough.

†Aufführung von und für Schulkinder, veranstaltet von der Educational Puppetry Association. College of Preceptors.

oder

*Besuch nach Wahl: A.P. Films Studio in Slough, Bucks.

18.30 *Reception by the British Council, 3 Hanover Street, W.1.

*Réception donnée par le British Council, 3 Hanover Street, W.1.

*Empfang vom British Council, 3 Hanover Street, W.1.

19.30 †Lotte Reiniger introduces a programme of her Shadow Films at the British Council Film Theatre, 6 Hanover Street, W.1.

†Lotte Reiniger introduit une programme de ses films d'ombres au British Council Film Theatre, 6 Hanover Street, W.1.

†Mme. Lotte Reiniger zeigt eine Filmaufführung ihrer Schattenspiele (British Council Film Theatre). 6 Hanover Street, W.1.

5

FRIDAY

VENDREDI

FREITAG

14.30 *Optional visit to A.P. Films Studios, Slough.

17.30 *Reception at Pollock's Toy Museum, 44 Monmouth Street, W.C.2., followed by a toy theatre performance by George Speaight.

*Réception donnée au Pollock's Toy Museum, 44 Monmouth Street, W.C.2., suivée par une représentation du théâtre de "l'imagerie Epinal" anglais par George Speaight.

*Empfang in Pollock's Toy Museum. Anschliessend Model-theateraufführung (Mr. George Speaight). 44 Monmouth Street, W.C.2.

20.00 †Performance by the John Wright Marionettes at the Little Angel.

†Représentation par les John Wright Marionettes à Little Angel théâtre.

†Aufführung von John Wright's Marionettes. Little Angel Theatre.

22.00 *Farewell Party at the Little Angel.

*Réunion d'adieux à Little Angel théâtre.

*Abschiedsfeier. Little Angel Theatre.

6

NOTES NOTES BERMERKUNGEN

†Events open to holders of season tickets.

†Entrées reservées aux porteurs d'abonnements.

†Zugänglich für Besitzer einer Abonnementskarte.

*Events restricted to members of the UNIMA Praesidium or by special invitation.

*Entrées limitées aux Membres du Présidium de UNIMA ou sur invitation spéciale.

*Nur für Mitglieder des UNIMA Präsidiums oder auf besondere Einladung.

ADDRESSES ADRESSES ADRESSEN

THE COLLEGE OF PRECEPTORS, 2 BLOOMSBURY SQUARE, W.C.1.
(nearest Underground Station: Holborn)

THE LITTLE ANGEL THEATRE, 14 DAGMAR PASSAGE, CROSS STREET, N.1.
(nearest Underground Station: Angel)

This programme has been arranged by the Joint International Committee
of the British Puppet and Model Theatre Guild and the Educational
Puppetry Association, 23a Southampton Place, London, W.C.1.

7

Picture Post, 25 July, 1953

PICTURE POST PREVIEW

SHADOW-MAGICIAN LOTTE REINIGER GIVES A PREVIEW TO TWO MEMBERS OF HER AUDIENCE OF 2,000,000 CHILDREN...

LADY BEHIND THE SHADOWS

Photographed by THURSTON HOPKINS

NEIGHBOUR BRENDA WATCHES intently as Lotte Reiniger directs shadow film 'Puss in Boots.' Lotte also designs backgrounds and figures herself, animates them and operates her own film camera.

This week Children's TV presents a new shadow film, "Puss in Boots," by Lotte Reiniger. Our preview takes you to her studio-home and, with apologies to "Why?", answers some of the questions young viewers have been asking

**CHILD:** Mummy, what are all those children looking at?

**MOTHER:** They're looking at Lotte Reiniger, dear.

**CHILD:** Why are they looking at Lotte Reiniger, Mummy?

**MOTHER:** Because she's a clever woman, darling.

**CHILD:** Why is she clever?

**MOTHER:** Because she makes all those lovely films you see on your TV set in the children's programme. You know, those strange fairy-tale ones, with all the characters in silhouette.

**CHILD:** What's a silhouette, Mummy?

**MOTHER:** That's another word for shadow, dear, only more artistic.

**CHILD:** Are the films made in big film studios?

**MOTHER:** No, dear. She makes them all by herself in her home in High Barnet. And

all the children in the neighbourhood come and watch her making them.

**CHILD:** Why do they all come?

**MOTHER:** Because she's a nice lady and gives the children chocolates and biscuits, and also, I suppose, because they are interested in the way she makes the pictures.

**CHILD:** How does she make them?

**MOTHER:** Well, first she thinks up a story with a friend, Mr. Louis Hagen, usually a fairy tale, and then she designs settings.

**CHILD:** What are settings?

**MOTHER:** Oh, castles and mountains and trees and flowers and things. She cuts them all out of black paper. And then she cuts out the characters for the film and makes them move against the settings.

**CHILD:** How does she make them move?

**MOTHER:** Well, what she does, she cuts out about 50 separate pieces of black paper for

34

Picture Post, 25 July, 1953

# WE CAN HAVE 3-D TELEVISION

A lone London inventor, Mr. GRANVILLE BRADSHAW, O.B.E., has worked out a new system which makes 3-D TV a practical possibility. Tests of this system are being encouraged by the B.B.C. In this exclusive article, Mr. Bradshaw sums up his invention, which may revolutionise your future viewing

HOW many people appreciate the fact that man never saw a 'flat' moving picture until the cinema was invented? It is an unnatural picture, because one eye can take in all the details whilst the other strives to find 'depth' which is not there. We can sit for hours, looking at a moving scene 'in the flesh' without fatigue, but show the same scene as a 'flat' picture and eyestrain develops.

As a research technician, my activities led to investigations into third-dimension some 20 years ago and a number of early pictures (lacking in technical accuracy) led me to the conclusion that there must be some kind of 'sorting device' between the eyes and the brain which picks out and delivers to the brain information most essential to the control of our movements. (If we reproduce a photograph exactly as seen by the two eyes—twin cameras—and project them on to a flat print we find a complete blur.)

## The Second Eye

This is mentioned because it is of vital importance to the television engineers. I find it almost impossible to convince them that the second eye gives us something for nothing and, in fact, is eager to do so. They agree that a single eye can take in all the 'information' thrown

Mr. Bradshaw with his 3-D screen

on to the screen, but they assert that an increase in band-width will be necessary to provide another picture for the other eye.

Experiments over a period of years have satisfied me that by making a slight alteration to the existing picture (one too slight to be observed by the single eye) the brain itself will pick up the information it wants and will see full third-dimension.

In early experiments into stereoscop this writer, like many others, tried alternate 'shots' for right and left eye, single and double and curved mirrors and suchlike, but in the end he came to the conclusion that the only possible system is one in which the right eye sees a different picture from that seen by the left eye. This meant that there must be some kind of barrier between our eyes and the picture.

The problem can be, and is being, solved by polaroid or other spectacles, but I discarded the system as impracticable when other possibilities presented themselves.

If you take a hair comb (a coarse one) and hold it about a quarter of an inch above a picture, then close each eye in turn, you will notice that the right eye sees a different part of the picture from that of the left eye. Here was a basis that appeared to have possibilities, if the comb-like obstructions could be made virtually invisible.

Two years of trial, test and experiment produced a practical photographic system with dividing lines as fine as 80 to the inch which made them quite invisible a foot or more away. The pictures have been acclaimed by experts both here and abroad as the best ever. No spectacles are needed, they show full and accurate depth, they are clear and precise and restful to the eye and, if one moves to the right or left of the picture, one can actually 'look round the back' of a person in the picture just as in natural life.

## What the B.B.C. Thinks

When these results had been achieved the rights were sold to an advertising company as they were 'stills,' and the aim now was to develop the system for the cinema.

But the cine-camera requires no less than 24 exposures a second and it turned out to be almost impossible to develop a mechanism sufficiently fast and reliable.

Now, however, the position is changed. Electronic cameras, as used in television, can reproduce single picture elements in one five-millionth part of a second—and this has provided the complete answer.

Having no private television system of my own, the only thing to do was to approach the B.B.C.,

who kindly arranged an interview with one of the technical chiefs. After the fullest investigation he agreed that, in theory, my system was applicable to existing television, but pointed out that I would have to face a number of formidable difficulties. Later the B.B.C. Research Department reported that since my system demanded the transmission of "increased intelligence" it must, *ipso facto*, call for an increase in 'band-width,' and this would not be possible without changes in the B.B.C. transmitting system.

## The Brain Can Magnify

I did not agree with this, arguing, as I still do, that since a single eye can take in a whole picture we can very slightly reduce the 'intelligence' to this one eye (15 per cent.) and give it to the other eye. Experiments show that this will enable the brain to magnify the effect many times.

Failure to make use of the second eye is manifestly bad in any system but, if it is brought into play in an

efficient manner, a third-dimension system might prove to be a more economical method of utilising the present band-width than any existing one!

The world has been trying for 50 years to find the perfect third-dimension; and only two systems appear possible, i.e. the one with spectacles and the one I now propose—the inference is that spectacles are not wanted by anybody.

My own view is that 3-D is much easier to achieve than colour television, will be less trying to the eyesight, and will provide greater appreciation of action and drama.

"One more crack about this show and I'll do you."

Joan Gilbert's

## TELE-TALK

### The Unforeseen: Here—

THE fact that Jasmine Bligh has taken over my chores in *About the Home* reminds me of an incident that happened during a TV anniversary programme in 1951, when Jasmine made her first TV come-back. She had been working on a farm for some time, and when Cecil Madden reintroduced her, she quite frankly told viewers that she was looking for a job. The next morning Cecil, Jasmine and I were all inundated with letters offering Jasmine jobs. Businessmen had sat down then and there to tell us that anybody as attractive as Jasmine was just what the doctor had ordered for their office.

### Jasmine's Bush Rat

Cecil Madden recalls another story about Jasmine Bligh from pre-war TV days. During an animal programme she appeared with an extremely unruly Australian bush rat. The Zoo official warned her repeatedly not to let the rat get away and Jasmine, getting extremely nervous as the creature pulled and tugged to make its escape, held on to it by its tail. Suddenly the bush rat made a last desperate jerk and got away—leaving a horrified Jasmine to hold the rat's tail in her hand.

### —and in America

It's nice to be able to compare what television's doing here with the set-up in America, and the other week a party of producers packed out the tiny viewing theatre at Lime Grove to see an American television of *Hamlet*.

It caused some heated discussion, but both the 'ayes' and the 'noes' were amused and cheered by that nightmare of TV, the sight of a studio hand, who most definitely didn't figure in Shakespeare's cast, wandering across the set, overalls and all, before beating a hasty retreat.

I told this story to Frank Sinatra after my interview with him the other week. I had been prepared for a soulful young man who'd be surprised if I didn't swoon, but found to my delight that he had a terrific sense of humour, and his stories of the things that can go wrong on TV in that alleged stream-, lined world of efficiency, made good hearing.

The worst that ever happened to him was the descent of a heavy back-drop, at great speed, bang on his head in the middle of a particularly sentimental song, instead of five feet behind him. Somehow Sinatra gagged his way out of it. But what happened to the unfortunate scene-shifter, I wonder?

36