Word: hollywoodized
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Dates: during 1930-1939
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Under the new act. Parliament hopes to invigorate the home industry by 1) upping the quota and 2) exterminating the quota quickie. Under the new sliding scale, Hollywood must this year produce 15 films in England for every 100 of its own it shows here. In hte next ten years the requirement will rise to 30 films per 100. But to qualify as a quota film under the new law, a production must represent at least $37,500 in British studio labor costs. Since labor is reckoned at about half the total cost of production, quota films in future will...
...multiple credit allowances were set up in the hope that Hollywood might thus be induced to produce in the United Kingdom for the world market. That $75,000 pictures could not be expected to compete in the world market with Hollywood's glossy, million-dollar exports Parliament knew quite well. But canny Britishers knew equally well that if Hollywood had to make between 75 and 150 quota pictures annually in the British Isles at a minimum cost of $75,000 each, it would undoubtedly find it good business to spend enough extra to insure a world-wide return...
...entirely dormant, had two films apiece ready to join the U. S. Easter cinema parade. Of the four, the two less pretentious cost $450,000 each, represented the good homespun handiwork of which the British industry is capable when it is not making quota quickies or trying to imitate Hollywood's grand manner. The others were, important because they 1) cost about $1,000,000 each, and 2) showed it in varying ways. The best two were laid in Scotland, and both involved...
Sailing Along (Gaumont British) stars England's top singer and dancer, Jessie Matthews, in a jarring $900,000 blend of inexpensive, landscapy charm and budget-eating, Hollywood-inspired bandbox décor. In the ginghamy raiment of a river barge waif, Actress Matthews' sturdy, bike-legged nimbleness seems to belie her Cockney wispyness. But squired to proper-dance frocks and slippers and a fancy stage career by Soup Magnate Roland Young. she dances dainty duos with the U. S.'s Jack Whiting, sings her way to a typical cinemusical fadeout...
...Nina Petrovna (Solar Films), a French picture, has all the panoply and poohbah of a Hollywood super-colossal. Nina is a Tsarist floozy who traipses to Vienna breaks several hearts, lies like a lady for the man she loves, fades out with a bullet in her heart. What distinguishes Nina Petrovna is that Nina is Junoesque Isa Miranda, whose gaunt loveliness combines the allure of Marlene Dietrich with the expressiveness of Greta Garbo. With Garbo vacationing on the Mediterranean (TIME, March...