Tag: Music

The Plastic Age

Source: Percy Marks, The Plastic Age (New York: The Century Co., 1924), pp. 24-28

Text: “Well,” he exclaimed, “that’s that! At last I know where I’m going. You certainly saved my life. I know where all the buildings are; so it ought to be easy.”

“Sure,” said Carl encouragingly; “it’s easy. Now there’s nothing to do till to-morrow until eight forty-five when we attend chapel to the glory of the Lord. I think I’ll pray to-morrow; I may need it. Christ! I hate to study.”

“Me, too,” Hugh lied. He really loved books, but somehow he couldn’t admit the fact, which had suddenly become shameful, to Carl. “Let’s go to the movies,” he suggested, changing the subject for safety.

“Right-o!” Carl put on his freshman cap and flung Hugh’s to him. “Gloria Nielsen is there, and she’s a pash baby. Ought to be a good fillum.”

The Blue and Orange – it was the only movie theater in town – was almost full when the boys arrived. Only a few seats near the front were still vacant. A freshman started down the aisle, his “baby bonnet” stuck jauntily on the back of his head.

“Freshman!”… “Kill him!”… “Murder the frosh!” Shouts came from all parts of the house, and an instant later hundreds of peanuts shot swiftly at the startled freshman. “Cap! Cap! Cap off!” There was a panic of excitement. Upper-classmen were standing on their chairs to get free throwing room. The freshman snatched off his cap, drew his head like a scared turtle down into his coat collar, and ran for a seat. Hugh and Carl tucked their caps into their coat pockets and attempted to stroll nonchalantly down the aisle. They hadn’t taken three steps before the bombardment began. Like their classmate, they ran for safety.

Then some one in the front of the theatre threw a peanut at some one in the rear. The fight was on! Yelling like madmen, the students stood on their chairs and hurled peanuts, the front and rear of the house automatically dividing into enemy camps. When the fight was at its hottest, three girls entered.

“Wimmen! Wimmen!” As the girls walked down the aisle, infinitely pleased with their reception, five hundred men stamped in time with their steps.

No sooner were the girls seated than there was a scramble in one corner, an excited scuffling of feet. “I’ve got it!” a boy screamed. He stood on his chair and held up a live mouse by its tail. There was a shout of applause and then – “Play catch!”

The boy dropped the writhing mouse into a peanut bag, screwed the open end tight-closed, and then threw the bag far across the room. Another boy caught it and threw it, this time over the girls’ heads. They screamed and jumped upon their chairs, holding their skirts, and dancing up and down in assumed terror. Back over their heads, back and over, again and again the bagged mouse was thrown while the girls screamed and the boys roared with delight. Suddenly one of he girls threw up her arm, caught the bag deftly, held it for a second, and then tossed it into the rear of the theater.

Cheers of terrifying violence broke loose: “Ray! Ray! Atta girl! Hot dog! Ray, ray!” And then the lights went out.

“Moosick! Moosick! Moo-sick!” The audience stamped and roared, whistled and howled. “Moosick! We want moosick!”

The pianist, an undergraduate, calmly strolled down the aisle.

“Get a move on!”… “Earn your salary!”… “Give us moosick!”

The pianist paused to thumb his nose casually at the entire audience, and then amid shouts and hisses sat down at the piano and began to play “Love Nest.”

Immediately the boys began to whistle, and as the comedy was utterly stupid, they relieved their boredom by whistling the various tunes that the pianist played until the miserable film flickered out.

Then the “feature” and the fun began. During the stretches of pure narrative, the boys whistled, but when there was any real action they talked. The picture was a melodrama of “love and hate,” as the advertisement said.

The boys told the actors what to do; they revealed to them the secrets of the plot. “She’s hiding behind the door, Harold. No, no! Not that way. Hey, dumbbell – behind the door.”… “Catch him, Gloria; he’s only shy!”… “No, that’s not him!”

The climactic fight brought shouts of encouragement – to the villain. “Kill him!”… “Shoot one to his kidneys!”… “Ahhhhh,” as the villain hit the hero in the stomach…. “Muss his hair. Attaboy!”… “Kill the skunk!” And finally groans of despair when the hero won his inevitable victory.

But it was the love scenes that aroused the greatest ardor and joy. The hero was given careful instructions. “Some neckin’, Harold!”… “Kiss her! Kiss her! Ahhh!”… “Harold, Harold, you’re getting rough!”… “She’s vamping you, Harold!”… “Stop it; Gloria; he’s a good boy.” And so on until the picture ended in the usual close-up of the hero and heroine silhouetted in a tender embrace against the setting sun. The boys breathed “Ahhhh” and “Ooooh” ecstatically – and laughed. The meretricious melodrama did not fool them, but they delighted in its absurdities.

The lights flashed on and the crowd filed out, “wise-cracking” about the picture and commenting favorably on the heroine’s figure. There were shouts to this fellow or that fellow to come on over and play bridge, and suggestions here and there to go to a drug store and get a drink.

Hugh and Carl strolled home over the dark campus, both of them radiant with excitement, Hugh frankly so.

Comments: Percy Marks (1891-1956) was an American author whose notorious novel of college life, The Plastic Age, was filmed under that title in 1925 (starring Clara Bow) and in 1929 as Red Lips.

Links: Copy at Hathi Trust

A Time to Speak

Source: Anthony Quayle, A Time to Speak (London: Barrie & Jenkins, 1990), p. 52

Text: What flicks they were in those days. Not only did they flicker, but they whirred. The pianist was usually thumping away too loud for you to hear the film running over the sprockets; but when the love scenes came and the piano went soft and mushy, then the projectionist came into his own. Every time Rudolph Valentino narrowed his eyes and the heroine shrank from him in mingled love and loathing, then, just as surely as the next caption would be ‘I Love You!’ and the one after would be ‘No, No!’, so without fail would be heard the whirring, chirring rattle of the projector.

Sometimes the machine broke down. When that happened the whole audience, Aggie and me included, would groan loudly; then, as the lights came on, we would all laugh and applaud ourselves for being such audacious wags. After a few minutes the lights would be turned out again to renewed cheers and whistles. The whirring started up once more, a few feet of film jerked onto the screen – only to suffer a further collapse. Louder groans from the audience: more ribald cheering. No one ever made a fuss or complained about breakdowns; they were accepted as part of the entertainment. You paid your money, you came out of the cold and rain, and whichever way things went you had a good time.

Comments: Anthony Quayle (1913-1989) was a British stage and film actor and theatre director. His family lived in Southport. Aggie was his maternal grandmother. At the time of this extract from his autobiography he was aged around eight.

Babylon at Brixton

Source: James Agate, extract from ‘Babylon at Brixton’, in Around Cinemas (London: Home & Van Thal, 1946), pp. 52-53 [originally published in The Tatler, 25 September 1929]

Text: … For the Brixtonian, Brixton is clearly the hub of the universe. There is a large railway bridge which bears to the Brixton landscape the same relationship that St. Paul’s bears to Cheapside. But I am convinced that the Brixtonians regard their railway bridge as a thing in itself and serving no purpose save the ornamental. That train should use that bridge to convey people to other parts of the world seems unthinkable There is no other part of the world that matters.

These things being so, it was obvious that Brixton must be provided with a cinema equal to any of those which, if the worlds of travellers might be believed, had been erected on the other side of the big river. But what Brixton wants, Brixton has, and that was why we alighted at a building which was certainly much less of an eyesore than, for example, the Regal Picture Palace, the exterior of which I take to be the biggest blot on the new London landscape. At the same time the architect had made a great mistake in despising the side street down which half his building runs. For this side street, which has no façade, is just as visible as the main Stockwell Road which is plentifully bedizened, with the result that the visitor receives the impression of a building only two-thirds completed. Inside, of course, completion has done her utmost. In the entrance-hall there is a running fountain in whose basin may be seen, disporting themselves, gold-fish, numbering, as Mr Belloc used to say in the old war days, more than fifteen and less than thirty. Marble stairs, lusciously carpeted, lead the giddy visitor into an auditorium alleged to resemble an Italian garden. Stars twinkle; fronds fan the fevered forehead, and, what is more important, the seats are admirably cushioned. The place is one of extraordinary, almost Babylonish magnificence. Tea-lounges abound. There are cubicles where the jaded shopper may repose; and wherever marble has a right to be, there marble is. The Directors, whose mobile, eager, and pleasantly acquiline features decorate the handsome souvenir with which the management presents you, have obviously not demanded any change out of their capital expenditure of £250,000 and will be satisfied, I imagine, with a return of something like 1000 percent on their money. I am not very good at figures, but the house holds over four thousand people at prices from sixpence to three shillings and sixpence, and there are three performances a day, at all of which up to now the house has been crowded out. Well, that is good business, but not better than such enterprise deserves. I guessed correctly the number of charwomen employed, to which must be added twenty-four brass cleaners. I was, however, £8000 out in my estimate of the organ. The instrument would appear even to the unskilled as a noble one, and fit for the performance in the best cinema manner of pieces written for the piccolo, pianoforte, and every instrument except the organ. On the afternoon that I attended, Mr Pattman played a selection from “Peer Gynt,” which I shall say, with bated breath, needs that drama to jog it along. But the reasons why I intend to be outrageously and unfairly favourable to his picture palace are, first, that it has not wholly gone over to the talkies; and second, that it has retained a first-class orchestra, the excellence of which has been made possible by the poltroonery and short-sightedness of those West End houses which have dismissed their orchestras. It is true that there was a talkie on that afternoon, but I took advantage of this to inspect the lighting plant, the drains, and the strictly business side of the venture. The talkie being over, I saw an admirable silent film about a New York journalist. “Get your street scenery on,” said that journalist to a chorus girl. “You’re going up town with God’s gift to literature!” But he had the sense to say it in a sub-title. While Mr Haines was delivering himself of this amiable nonsense, the first-class orchestra played Offenbach’s “Orpheus in the Underworld” Overture, Dowling’s “Sleepy Valley,” Montague Phillips’ “Arabesque (a piece I didn’t know), “Oh, Maggie, What Have You Been Up To?”, and if I mistake not, “The Lost Chord.” And I hereby announce that in the bosom of one cinema fan there is more joy over chords that are lost than over tongues that are found.

Comments: James Agate (1877-1947) was a British theatre and film critic. His film reviews, mostly written for The Tatler, often mention the cinema in which he saw the film. The cinema described here is the Brixton Astoria, London, built in 1929 and now the Brixton Academy. The architect was Edward A. Stone. The film about a New York journalist was Telling the World (USA 1928 d. Sam Wood), starring William Haines.

Marie Lloyd

Source: T.S. Eliot, extract from ‘Marie Lloyd’, in Selected Prose of T.S. Eliot (London: Faber & Faber, 1975), pp. 173-174 [originally published as ‘London Letter’ in The Dial, December 1922, pp. 659-663]

Text: The lower classes still exist; but perhaps they will not exist for long. In the music-hall comedians they find the artistic expression and dignity of their own lives; and this is not found for any life in the most elaborate and expensive revue. In England, at any rate, the revue expresses almost nothing. With the dwindling of the music-hall, by the encouragement of the cheap and rapid-breeding cinema, the lower classes will tend to drop into the same state of amorphous protoplasm as the bourgeoisie. The working-man who went to the music-hall and saw Marie Lloyd and joined in the chorus was himself performing part of the work of acting; he was engaged in that collaboration of the audience with the artist which is necessary in all art and most obviously in dramatic art. He will now go to the cinema, where his mind is lulled by continuous senseless music and continuous action too rapid for the brain to act upon, and he will receive, without giving, in that same listless apathy with which the middle and upper classes regard any entertainment of the nature of art. He will also have lost some of his interest in life.

Comment: Thomas Stearns Eliot (1888-1965) was an American poet, critic and dramatist chiefly based in Britain. Marie Lloyd (1870-1922) was one of the most celebrated of British music hall stars.

Marie Lloyd

Source: T.S. Eliot, extract from ‘Marie Lloyd’, in Selected Prose of T.S. Eliot (London: Faber & Faber, 1975), pp. 173-174 [originally published as ‘London Letter’ in The Dial, December 1922, pp. 659-663]

Text: The lower classes still exist; but perhaps they will not exist for long. In the music-hall comedians they find the artistic expression and dignity of their own lives; and this is not found for any life in the most elaborate and expensive revue. In England, at any rate, the revue expresses almost nothing. With the dwindling of the music-hall, by the encouragement of the cheap and rapid-breeding cinema, the lower classes will tend to drop into the same state of amorphous protoplasm as the bourgeoisie. The working-man who went to the music-hall and saw Marie Lloyd and joined in the chorus was himself performing part of the work of acting; he was engaged in that collaboration of the audience with the artist which is necessary in all art and most obviously in dramatic art. He will now go to the cinema, where his mind is lulled by continuous senseless music and continuous action too rapid for the brain to act upon, and he will receive, without giving, in that same listless apathy with which the middle and upper classes regard any entertainment of the nature of art. He will also have lost some of his interest in life.

Comment: Thomas Stearns Eliot (1888-1965) was an American poet, critic and dramatist chiefly based in Britain. Marie Lloyd (1870-1922) was one of the most celebrated of British music hall stars.

Bioscope & Cinematograph Shows

Source: Report from Police Sergeant George Jordan, Arbour Square station, H Division, The National Archives, MEPO 2/9172 file 590446/5, ‘Bioscope & Cinematograph Shows’, March 11th, 1909

Text: No 12 High Street, Whitechapel has been recently erected. The front has been constructed with a pay box in the centre and a pair of doors each side.

The price of admission is: – Adults 2, Children 1 penny.

The room is about 45 ft deep and 20 ft wide. The machine and films are placed in a fireproof box just inside the entrance and immediately behind the paybox. The sheet on which the pictures are shown being at the far end. The machine is worked by one of the three adult attendants who relieve each other.

There are several rows of “tip-up” seats near the curtain, with ordinary chairs behind occupying two-thirds of the floor space; the remaining portion being for standing room only.

A five foot gangway is arranged at one side of the seats, with an exit door opening outwards half-way down. An electric piano placed near the screen plays continuously. About 250 English and Jewish people were present, including about 100 children.

No 63 Whitechapel Road was formerly a small shop; it has only one ordinary door opening into a room 30 feet deep by 15 feet wide.

Adults are charged one penny and children one halfpenny for admission.

The machine and films are placed in an asbestos box at the far end of the room and worked by an adult operator employed for that purpose. The pictures are shown on a screen attached to the window.

Chairs are provided in rows with a four foot passage way at the side. There was a mixed audience of about 100 persons present, half of whom were children.

An ordinary piano was placed near the window with a notice displayed inviting members of the audience to play; a young girl was playing when I entered. The proprietor’s wife, son age about 20, and a boy were acting as attendants.

No 97 Commercial Road was formerly a small shop with window and side door leading to a passage and to the room in question, which is about 30 feet deep and 15 feet wide.

Adults pay one penny; children one halfpenny for admission.

Forms are placed across the room rising in height at the back to about four feet. There is one central passage between the forms not more than three feet wide.

The audience numbered about 150; about 100 being children from four years upwards; the remainder were young Jews – male and female.

The machine and films are placed in a separate room at the rear. This room is about six feet above the shop level, with a rough “Jacobs” ladder leading to it from the side passage. The machine stands on an iron base about 12 inches above the wooden floor. It has no protecting box and there is a bedstead and table near.

An adult operator is employed at 30/- per week.

A hole has been made in the parting wall and the pictures are exhibited on a screen attached to the shop window …

In all these places of entertainment the audience is mixed together irrespective of age or sex. A series of five or six sets of pictures are shown in quick succession lasting from 30 to 45 minutes. During that time the room is in darkness. The rays from the lantern slightly illuminate the benches near the curtain, but at the opposite end where some of the spectators stand up in order to get a better view, it would be quite easy for acts of misconduct or indecency to take place without fear of detection.

In several cases the only means of exit is by one door, and the gangways are so narrow and inadequate that if an alarm of fire was raised it would be impossible for the younger members of the audience to escape in the rush that would ensue, and there might be loss of life.

Comments: This police report is part of a series of reports from the various Metropolitan Police Divisions conducted in March 1909, driven by concerns of crime, indecency and fire hazards in the small shop-conversions cinemas, or bioscopes, that existed in London at this time. The report covers the Whitechapel district of East London. The Whitechapel Picture Theatre was located as 12 Whitechapel Street and was managed by Charles Robinson. The name of the entertainment at 63 Whitechapel Road is not known but the proprietor was Barnard Cohen. Happy Land was located at 97 Commercial Road, run by Lewis Klein.

Links: National Archives file reference

Bioscope & Cinematograph Shows

Source: Report from Police Sergeant George Jordan, Arbour Square station, H Division, The National Archives, MEPO 2/9172 file 590446/5, ‘Bioscope & Cinematograph Shows’, March 11th, 1909

Text: No 12 High Street, Whitechapel has been recently erected. The front has been constructed with a pay box in the centre and a pair of doors each side.

The price of admission is: – Adults 2, Children 1 penny.

The room is about 45 ft deep and 20 ft wide. The machine and films are placed in a fireproof box just inside the entrance and immediately behind the paybox. The sheet on which the pictures are shown being at the far end. The machine is worked by one of the three adult attendants who relieve each other.

There are several rows of “tip-up” seats near the curtain, with ordinary chairs behind occupying two-thirds of the floor space; the remaining portion being for standing room only.

A five foot gangway is arranged at one side of the seats, with an exit door opening outwards half-way down. An electric piano placed near the screen plays continuously. About 250 English and Jewish people were present, including about 100 children.

No 63 Whitechapel Road was formerly a small shop; it has only one ordinary door opening into a room 30 feet deep by 15 feet wide.

Adults are charged one penny and children one halfpenny for admission.

The machine and films are placed in an asbestos box at the far end of the room and worked by an adult operator employed for that purpose. The pictures are shown on a screen attached to the window.

Chairs are provided in rows with a four foot passage way at the side. There was a mixed audience of about 100 persons present, half of whom were children.

An ordinary piano was placed near the window with a notice displayed inviting members of the audience to play; a young girl was playing when I entered. The proprietor’s wife, son age about 20, and a boy were acting as attendants.

No 97 Commercial Road was formerly a small shop with window and side door leading to a passage and to the room in question, which is about 30 feet deep and 15 feet wide.

Adults pay one penny; children one halfpenny for admission.

Forms are placed across the room rising in height at the back to about four feet. There is one central passage between the forms not more than three feet wide.

The audience numbered about 150; about 100 being children from four years upwards; the remainder were young Jews – male and female.

The machine and films are placed in a separate room at the rear. This room is about six feet above the shop level, with a rough “Jacobs” ladder leading to it from the side passage. The machine stands on an iron base about 12 inches above the wooden floor. It has no protecting box and there is a bedstead and table near.

An adult operator is employed at 30/- per week.

A hole has been made in the parting wall and the pictures are exhibited on a screen attached to the shop window …

In all these places of entertainment the audience is mixed together irrespective of age or sex. A series of five or six sets of pictures are shown in quick succession lasting from 30 to 45 minutes. During that time the room is in darkness. The rays from the lantern slightly illuminate the benches near the curtain, but at the opposite end where some of the spectators stand up in order to get a better view, it would be quite easy for acts of misconduct or indecency to take place without fear of detection.

In several cases the only means of exit is by one door, and the gangways are so narrow and inadequate that if an alarm of fire was raised it would be impossible for the younger members of the audience to escape in the rush that would ensue, and there might be loss of life.

Comments: This police report is part of a series of reports from the various Metropolitan Police Divisions conducted in March 1909, driven by concerns of crime, indecency and fire hazards in the small shop-conversions cinemas, or bioscopes, that existed in London at this time. The report covers the Whitechapel district of East London. The Whitechapel Picture Theatre was located as 12 Whitechapel Street and was managed by Charles Robinson. The name of the entertainment at 63 Whitechapel Road is not known but the proprietor was Barnard Cohen. Happy Land was located at 97 Commercial Road, run by Lewis Klein.

Links: National Archives file reference

Epikhodov

Source: Hugh Walpole, extract from ‘Epikhodov’, in Winifred Stephens (ed.), The Soul of Russia (London: Macmillan, 1916), pp. 38-39

Text: Beside my quarters in Petrograd is a tiny cinema theatre. Because we hang over the still waters of a side canal, where trade is sleepy, the proprietor of the cinema has to go out of his way to attract the great world. In the vestibule of his theatre there plays every night a ghastly discordant band, his windows are hung with flaming posters of cinematographic horrors, and in the intervals between the pictures he has music-hall turns — the two dwarfs, the gentleman who sings society songs, the fat lady and her thin husband — all this for a penny or twopence. The little room of the entertainment is stuffy and smelly; about one is the noise of the cracking of sunflower seeds. Once and again the audience embraces the audience with loud, clapping kisses. During the musical-hall turns the door is open and you can see into the blue sunlight of the white night, the cobbled street, the green toy-like trees, the gleaming waters of the canal upon which lie the faintly coloured barges.

Comments: Hugh Walpole (1884-1941) was a prolific British novelist, best known for Rogue Herries and its follow-up novels. He spent much of the First World War in Russia, working for for the Red Cross and then as head of the Anglo-Russian Propaganda Bureau, based in Petrograd. This essay comes from a collection on art and society in Russia, produced in aid of Russian refugees, and deals with Russian drama (Epikhodov is a character in Chekhov’s The Cherry Orchard). Walpole also describes the mixture of cinema and variety in his 1919 novel The Secret City (qv).

Links: Copy on Internet Archive

British Cinemas and their Audiences

Source: J.P. Mayer, British Cinemas and their Audiences: Sociological Studies (London: Dennis Dobson, 1948), pp. 182-184

Text: NO. 15A
AGE: 18 SEX: F.
PARENTS’ OCCUPATION: FATHER – SOLDIER, MOTHER – HOUSEWIFE
OCCUPATION: G.P.O. EMPLOYEE
NATIONALITY: BRITISH

When I go to the cinema, I go to be entertained, and having seen the film I like to feel convinced, and satisfied with my entertainment. I enjoy quite a few types of films but in nine cases out of ten the draw is the star in the film. The sort of film I like best has plenty of outdoor scenes, and children. Always, I look for a sense of freedom in a film, something refreshing, something that really might happen in real life. Children too, seem to be the embodiment of freedom and happiness. One of the most refreshing, charming, film [sic] I have ever seen was Sunday Dinner for a Soldier. Here the children, the elder sister, the grandfather, the animals, the houseboat all seemed so real, and their experiences might happen to anybody. For that reason too I enjoyed National Velvet and the beautiful refreshing scenes shot by the sea.

On the more serious side I like a good film taken from a novel whether modern or old but to convince me the acting must be at a very high standard. Here, the stars attract me, Bette Davis, Ida Lupino, Joan Fontaine, Ingrid Bergmann [sic]; and as I watch them I think how wonderful it must be and how satisfying to them to be able to act like that. What an achievement to really be able to convince the audience that you are happy, sad, indifferent, cruel, etc. I like a film of a serious nature to have an unhappy ending although I can never remember crying in a cinema if the hero or heroine died.

Then too, I like a film in which one scene stands out above all others so that I remember it for a long time afterwards, such as King Henry wooing the French Princess in Henry V, the duel scene in The Life and Death of Colonel Blimp, of Agnes Morrcheat’s [sic] performance in The Magnificent Ambersons. I find great pleasure in thinking back over them.

I like a comedy but it must be very clever and fast and funny so that I can laugh all the time. It must also have a great many surprises in it. I like some films with classical music running through them. Especially I enjoyed Song of Russia because of Tchaikowsky’s beautiful music. I think that his music is more beautiful than any other composer’s.

Lastly I like travel films because I can learn something from them about other countries. Although I should like to travel all over the world, I shall never be able to, and through seeing films about other lands, this makes up a little for not being able to go, (but only a very little I’m afraid).

The films I dislike most are modern musicals and also the ‘gay nineties’ type. The acting is generally very bad, the plot is repeated again and again, and after a day I have forgotten all about the film. The only reason I would go to a musical would be to study the actresses’ hair styles and dress. Very sentimental films tend to depress and even sicken me. The players never win my sympathy in the slightest.

I do not like American films with scenes set in England because they are always inaccurate. England looks in these films Hollywood would like her to look. This annoys me very much.

I do not like seeing films taken from novels I have read as they are nearly always chopped about beyond recognition and if I was the unfortunate authoress of a book that had been hacked about I should feel like weeping with shame when I saw my book filmed.

I do not like crime films, thrillers, or murders, as I find myself imagining all sorts of horrible things when I am alone in the house or walking in the dark at night for a time after I have seen them.

Lastly, I am hoping that I shall never see a war film or an ‘underground army’ type of film as long as I live. I want to forget all about war and try to help peace in this poor old world of ours for ever.

Comments: J.P. (Jacob Peter) Mayer was a German sociologist at the London School of Economics. His British Cinemas and their Audiences collates motion picture autobiographies submitted through a competition in Picturegoer magazine. This contribution comes from the section ‘A Study in Film Preferences’. Agnes Moorehead is the name of the actress in The Magnificent Ambersons (USA 1942). The other films mentioned are Sunday Dinner for a Soldier (USA 1944), Henry V (UK 1944), The Life and Death of Colonel Blimp (UK 1943), National Velvet (1944) and Song of Russia (USA 1944).

British Cinemas and their Audiences

Source: J.P. Mayer, British Cinemas and their Audiences: Sociological Studies (London: Dennis Dobson, 1948), pp. 182-184

Text: NO. 15A
AGE: 18 SEX: F.
PARENTS’ OCCUPATION: FATHER – SOLDIER, MOTHER – HOUSEWIFE
OCCUPATION: G.P.O. EMPLOYEE
NATIONALITY: BRITISH

When I go to the cinema, I go to be entertained, and having seen the film I like to feel convinced, and satisfied with my entertainment. I enjoy quite a few types of films but in nine cases out of ten the draw is the star in the film. The sort of film I like best has plenty of outdoor scenes, and children. Always, I look for a sense of freedom in a film, something refreshing, something that really might happen in real life. Children too, seem to be the embodiment of freedom and happiness. One of the most refreshing, charming, film [sic] I have ever seen was Sunday Dinner for a Soldier. Here the children, the elder sister, the grandfather, the animals, the houseboat all seemed so real, and their experiences might happen to anybody. For that reason too I enjoyed National Velvet and the beautiful refreshing scenes shot by the sea.

On the more serious side I like a good film taken from a novel whether modern or old but to convince me the acting must be at a very high standard. Here, the stars attract me, Bette Davis, Ida Lupino, Joan Fontaine, Ingrid Bergmann [sic]; and as I watch them I think how wonderful it must be and how satisfying to them to be able to act like that. What an achievement to really be able to convince the audience that you are happy, sad, indifferent, cruel, etc. I like a film of a serious nature to have an unhappy ending although I can never remember crying in a cinema if the hero or heroine died.

Then too, I like a film in which one scene stands out above all others so that I remember it for a long time afterwards, such as King Henry wooing the French Princess in Henry V, the duel scene in The Life and Death of Colonel Blimp, of Agnes Morrcheat’s [sic] performance in The Magnificent Ambersons. I find great pleasure in thinking back over them.

I like a comedy but it must be very clever and fast and funny so that I can laugh all the time. It must also have a great many surprises in it. I like some films with classical music running through them. Especially I enjoyed Song of Russia because of Tchaikowsky’s beautiful music. I think that his music is more beautiful than any other composer’s.

Lastly I like travel films because I can learn something from them about other countries. Although I should like to travel all over the world, I shall never be able to, and through seeing films about other lands, this makes up a little for not being able to go, (but only a very little I’m afraid).

The films I dislike most are modern musicals and also the ‘gay nineties’ type. The acting is generally very bad, the plot is repeated again and again, and after a day I have forgotten all about the film. The only reason I would go to a musical would be to study the actresses’ hair styles and dress. Very sentimental films tend to depress and even sicken me. The players never win my sympathy in the slightest.

I do not like American films with scenes set in England because they are always inaccurate. England looks in these films Hollywood would like her to look. This annoys me very much.

I do not like seeing films taken from novels I have read as they are nearly always chopped about beyond recognition and if I was the unfortunate authoress of a book that had been hacked about I should feel like weeping with shame when I saw my book filmed.

I do not like crime films, thrillers, or murders, as I find myself imagining all sorts of horrible things when I am alone in the house or walking in the dark at night for a time after I have seen them.

Lastly, I am hoping that I shall never see a war film or an ‘underground army’ type of film as long as I live. I want to forget all about war and try to help peace in this poor old world of ours for ever.

Comments: J.P. (Jacob Peter) Mayer was a German sociologist at the London School of Economics. His British Cinemas and their Audiences collates motion picture autobiographies submitted through a competition in Picturegoer magazine. This contribution comes from the section ‘A Study in Film Preferences’. Agnes Moorehead is the name of the actress in The Magnificent Ambersons (USA 1942). The other films mentioned are Sunday Dinner for a Soldier (USA 1944), Henry V (UK 1944), The Life and Death of Colonel Blimp (UK 1943), National Velvet (1944) and Song of Russia (USA 1944).