Tag: The Magnificent Ambersons (1942)

British Cinemas and their Audiences

Source: J.P. Mayer, British Cinemas and their Audiences: Sociological Studies (London: Dennis Dobson, 1948), pp. 112-113

Text: AGE: 21 SEX: M
OCCUPATION: CLERK
NATIONALITY: BRITISH
FATHER’S OCCUPATION: BACON CURER

I shall always remember my first important visit to the cinema. The Local Gaumont was being opened by the Mayor and many other important townsfolk yet out of that impressive ceremony way back at the beginning of the thirties, the only part that stands out vividly to me today was the film. It was a musical starring Jack Buchanan and entitled Goodnight Vienna.

Why this particular incident should have aroused my first profound interest in the cinema remains a mystery, yet I am convinced that before that date, the thought of ‘Going to the flicks’ never meant much to me.

I was of course quite young at the time about 10 years of age. For some years, I simply doted on musicals and the thought of seeing another Astaire-Rogers extravaganza provided plenty of excitement for little me. I found myself wanting to tapdance, although I was careful not to disclose any of these ambitions to my parents. Sometimes I wonder whether ‘careful’ was the word. The back-yard shows my pals and I used to put on were always received with wild enthusiasm. I might add that as the price for admission consisted of 3 ‘conkers’ or (when such things were out of season) perhaps a pen-nibs, audiences did jolly well under the circumstances.

My enthusiasm for musicals continued for quite a while until I reached the age when more serious aspects of films began to make themselves felt. It all started with my seeing Bette Davies in Dark Victory. Never shall I forget her terrific performance in this film. It stands out as one of the most enthralling episodes in my movie experience. That really started the ball rolling and from that day to this I have been an ardent dramatic fan. In fact, I am hoping to study drama upon my demobilisation. I love great acting, for the emotional benefit I myself get out of it is greatly satisfying. That is why I am such an admirer of Bette Davis, Ingrid Bergman and Paul Muni.

As for films influencing my daily life, until I discovered that drama was my ideal, I must admit that my life was not unduly affected. I enjoyed helping to stage our so-called concerts with my neighbours and that was all. Today however, it is a different story. I discover that if I should miss a dramatic film that I had been bent on seeing, nothing would stop me until I cought [sic] up with it at last.

Films have made me want to visit the U.S.A. in rather an unusual way. By reading rather a lot of authentic literature on that country I have realised now hopelessly incompetent a large precentage [sic] of films have been in portraying life in the U.S.A. I have come to believe in the books I have read and the fact that they do not tie up with what I have seen on the screen, has made me even more eager to go there and see for myself. I am referring to modern life in the States of course.

Since my joining the Forces in 1942 , 1 have also become interested in the technical side of films not with the interest of a technician but artistically. I can now appreciate photography and lighting and I realise that the cinema is most definitely an art. That is why I uphold Orson Well’s [sic] work and get annoyed when such masterpieces as Citizen Kane and The Magnificent Ambersons get snuffed at by the general public.

To-day I am an ardent film fan making sure I read all the reviews of the films as they reach the West End. I even keep a record of the date of arrival of each film and any other particulars that I think arc worth recording.

Yes, indeed my life is well wrapped in the cinema and I sincerely hope it won’t be long before I can have a go at entering the industry myself. I shall always be grateful to Miss Davis for revealing an ambition that had previously slept within me.

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 competitions in Picturegoer magazine. This contribution comes from the section ‘Films and the Pattern of Life’. Contributors were asked to trace the history of their interest in films, the influence films had on them (including if they were ever frightened by films), what they imitated from films, if films made them more receptive to love-making, if films made them want to travel or to be dissatisfied with their way of life or neighbourhood, and if films gave them vocational ambitions. It is interesting to see in the book the number of respondents who praise Citizen Kane (USA 1941) and The Magnificent Ambersons (USA 1942), films which were supposed to have been rejected by most audiences. The other films mentioned are Goodnight Vienna (UK 1932) and Dark Victory (USA 1939).

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).