1948-04-02 — Page 8

Page #

·THE CHINA MAIL, FRIDAY, APRIL 2, 1948.

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Shirley Templa and Guy Madison in shots from their film "Honeymoon" which will be shown shortly in Hong Kong,

COMPANY OF YOUTH

Something unique, in its way,

is the Company of Youth, the Rank Organisation's training group for British film stars of the future, with its headquar ters in a converted mission hall near the Highbury Film Studion in North London.

. Looking in there, any day, one is likely to see between Afteen and thirty youngsters

It Makes Tomorrow's Stars, But Does Not

Stamp Them With Uniformity

By J. Clifford King

out awkwardly can distort a player's entire appearance on a

two dimensional screen. In act- Ing for the screen, therefore, a player must underplay; he must think, more and 'do less than he would in the theatre.

For this reason rehearsals at the Company of Youth are not

says David Henley, Rank's Di-; Standard grooming of the rector of Artistes, "Ninety per Hollywood sort is not desired ns cent of players whose names it is thought that this produces what most people would expect, having fencing or dancing lea- become household words to film-too uniform a style of looks and take parts in scenes from plays;

Hons or rehearsing A play. Others may be at the studion taking amalli parts.

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The average age of the girls is about eighteen; the men are rather older since they must have done their military service,

As a result of some

good

rection the prestige of British Alma has been rising in recent years; but it is not forgotten here that "names" are what sell pictures in world markets. The Industry, therefore, must con- cern itself with what is called the exploitation of a personality| or with making stars.

What are the cinema people locking for?

course,

for

Primarily, of photogenicity for faces which have that indefinable quality to which the camera takes kindly. The faces may be anybody's.

"The truth of the matter is'

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Joan Bennett on the Bet when making the flim "The Woman On The Beach,"

goers are ordinary folk from ordinary homeg. The trans- formation from man-in-the- street to man-on-the-screen means hard work and careful planning."

Occasionally the students do

behaviour.

A successful recruit

to the but, more often, they improvise 'Company of Youth' is asked to portrayals of Imaginary situa- sign Д

tions thought up by the instruc-. contract, carrying B salary during the first six tor. In this way they learn to month's training period

and wet into the skin of the char-

with options up to seven years acters rather than to concentrate after he or she has graduated. on their lines. This, of course, The contract signed, n rigorous helps later when, in the studios, programme of work begins to they have to preserve continuity of mood between shots batween the aspirant to face the

which there may be an interval camera.

fit

In the mornings informal lec-of months. Sometimes there turea about their jobs are given may be nothing of what is call- by studio technicians and there ed 'dramatics at all. The stu are other lectures on a variety dents may just be sitting around of subjects such as hair styles, imaginary game of tennis, per- And watching something—an driss sense, make-up and the most economical use of clothing| coupons! A dentist looks after their teeth.

haps.

Importance Of Fencing

This

Throughout this first period| what might be called stage In the same way the teaching training is modified to the re of fencing is considered to be quirements of the film studio, of great importance not only as Technical

considerations make the excellent axercise it is, but this necessary, of course:, a chielly because, training the eye microphone technique must be to concentrate on one spot, it' searned for one thing, clear prevents blinking common diction, control of breathing to fault in those facing the camera avoid the panting effect which is for the first time. exaggerated on the sound track The team of instructors work when the actor breathes too hard and patiently with the re- quickly. Broken up into short cruits and do all that they can scenes 88 most films are, some to keep up enthusiasm. ability in retaining an expresis-particularly necessary when sion must be developed. Dim-the course is such a grueling culties in what at first sight one. An individual's retention might seem small things have in the company, too, depends to be surmounted-walking cor- upon satisfactory progress re rectly through studio lights, for ports being received from the

that the

Not every student Instructors. wrong matance, yo

succeeds. shadows do not appear.

Many do, however; and, in a Camera Distortions surprisingly short time, Д Again, the camera exagger-change begins to be noticed. In atea everything -- particularly the dancing class, for example, movement. An elbow thrust people who did not know what to do with their hands have learned to forget about them. A simple rhythmic movement, endlessly repeated, has helped the student to lose stiffness

-- SHADOWS BEFORE-A simple rhyth

with his

a

HONEYMOON (King's)

the cooperation of the RAF. and and awkwardness. Dancing a Stars: Shirley Temple, Guy Is an outstanding picture of its minuet he will have learned to Madison, Franchot Tone.

kind. The theme generally is forget about his feet, and to Story: Or a groomless bride designed to demonstrate to Am- stranded in Mexico City with a cricans that the casual attitude converse naturally handsome diplomat coming to the of their British cousins conceals partner. He will descend rescue. Altogether a delightful steel nerves, and to their British staircase easily and pause and comedy, with Shirley Temple in cousins that the braggadocio of look calmly around. Gradually a more sophisticated role

than the Americans can conceal a very he will have learned to move cold purpose. International ro- gracefully. Some of the girls lations are further assisted by will have learned to walk pro- pair of pretty girls, Carla Leh-

- Eleanor: Parker and Errol, |Flynn (form gert of this telo In the nomady: "Never Bay Goodbye." ques

mann

and Betty Stockfield. Perly. Men will have rid them First-class entertainment.

selves of their English self-con

DANGER SIGNAL

Stars: Favo

Zachary Scott.

sciousness...

and At a later stage In their studies they will be given small

Story:

Tells of the bitter con-parts in films. When they have sequences of a tragic triangle in mastered the rudiments of act- which two sisters are In coming they will act for a while in petition for the same` man.. An plays at the repertory theatre absorbing | diranca, bullt round in Worthing which is ran in the relentless execution of a

girl's plans for revenge, and bass association with the Bank Or- ed upon Phyllis Bottome's novel ganisation,

of the same name. For Rose- Then, one day, they will have mary De Camp it is her first op- their first star parts in alms. pearance, as a prosperous young | Their names: will, berrin, to be Sophisticate and the amoothness

qt the performance is Impressive known by cinemageers every-

NEVER SAY GOOD-BYE

(Majestic)

Stars: Eleanor Parker and

Errol Flynned

#

Story: Concerned

with the

giddy complications which attach

and his estranged wife when they meet and fall in love for the socond time. Errol Flynn re- P veals himself in something of a new role that of a comedian, while Bila Parker does extremely well as: a fluffy romanile. 19 “Ex- cellent THE WOMAN

BEACH

the has hitherto attempted. wh Vaderent) HARM

where.

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Rax Milland, Barbara Stanwyck and Barry Filz- gerald, KING'S. - Singaporo." Fred MacMurray and Ava Gardner in a mystery thriller with 3rd Floor Singapore as the LEE

Dear Murders

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Technicalour... Boe Above

Franchot Tena gives one of his nealest performances.Linay Stars: Joan Bennett, Robert!

Ryan Romay, in augỹorting rola, goes

Charles Bickford,

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