THE CINEMA
Ministry of Information Shorts " Saloon Bar." At the
Gaumont.
THE Films Division of the Ministry of Information is now launch- ing its ambitious and much-discussed programme of " non- theatrical " films. These are to be shown throughout the country by means of mobile projection units, the loaning of programmes to public libraries, and morning programmes at local cinemas. In addition, a Central Film Library has been set up at the Imperial Institute, from which the films can be obtained free by any societies, schools, and organisations which own projectors. Thus the dreams and schemes of many educationists and sociologists have in some measure reached fulfilment ; and in many ways the plan may be regarded as one of the most important developments in the use of cinema that this country has ever seen. It is to be presumed that when peace comes the Central Library, and the system which it serves, will be retained, in which case the much-maligned Films Division will be remembered with grateful thanks by teachers, children, and indeed all seekers after know- ledge, for many years to come.
The films themselves are conceived in no narrow propagandist spirit. Out of the fifty odd subjects at present available a very large proportion deal with subjects of civic importance in a broad and liberal-minded manner. Twenty-one of the films have been specially commissioned for the scheme, and these cover a wide range of subjects. Village School, for instance, tells of the efforts of country teachers under war conditions ; it is extremely well directed by John Eldridge and would be a success in any pro- gramme. Welfare of the Workers, made by the G.P.O. Film Unit, tells of improvements in factory conditions to meet war strain and war difficulties. Hans Nieter's White Battle Front details the military medical services and the emergency civilian services. Other notable films are Mother and Child, a film on welfare services by the Realist Film Unit, starring Barbara Mullen ; two films on reserved occupations ; a specialised film for farmers on silage ; and films of Coastal Defence, Anti- Aircraft, and wartime diet. Apart from these specially commis- sioned films the Ministry has also acquired other films of general and special interest, including some of the Five-Minute Films, and various subjects sponsored before or during the war by the Gas Industry. One of the most interesting of these is Edgar Anstey's It Comes from Coal, which reveals the importance of coal by-products in relation to manufacture and medicine.
The whole programme, however, keeps strictly to the Ministry's terms of reference ; that is, the films are mainly informational and instructional, and the hortatory element is happily absent. The result is that the scheme is likely to present British democracy with an exciting picture of its own workings in wartime ; and in this respect it is to be hoped that the majority of the films will be sent abroad, particularly to the Empire and to the U.S.A. For the films represent an aspect of our war effort which is just as important as the panoply of armed might—that is, the competence and vision of the democratic system.
If further films are commissioned for this programme the Films Division should be courageous enough to tackle subjects which refer to immediate problems. Two stories are ready to hand, both relating to air raids. The first should deal with the temporary collapse of local government in the East End and the measures taken to rebuild it. The second should tell of the taking-over of the tube stations by the citizenry. Admittedly this second subject carries awkward implications regarding the lack of air-raid shelters, but the orderliness, good-sense and humanity shown by all concerned in the tube stations are such that the opportunity for a big and really moving film should not be missed.
Returning to the world of the public cinemas (which, in London at least, are struggling gamely on under very trying circumstances), we find in Saloon Bar a neat and unpretentious film produced by Michael Balcon and directed by Walter Forde. It is not the story—a conventional murder mystery—which matters so much as the venue from which the film takes its name. Most of the action takes place in the bar, which is gloriously authentic both in material and in personnel ; indeed, the constant vision of Mr.
Gordon Harker lowering large glasses of beer may prove posi- tively painful to some sections of the audience. The film is enlivened by a good deal of purely naturalistic humour, and the acting throughout is good. It is a film which could only have been made in this country, and as such is to be welcomed.
BASIL WRIGHT.
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