According to Kinematograph Weekly it was the most popular film of 1940 in Britain.
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According to Kinematograph Weekly it was the most popular British film of 1940 in Britain.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly was founded in 1889 as the monthly publication Optical Magic Lantern and Photographic Enlarger. In 1907 it was renamed Kinematograph Weekly, containing trade news, advertisements, reviews, exhibition advice, and reports of regional and national meetings of trade organisations such as the Cinematograph Exhibitors' Association, and the Kinema Renters' Society. It was first published by pioneering film enthusiast, industrialist and printing entrepreneur, E. T. Heron. In 1914 it published its first annual publication for the film industry, the Kinematograph Yearbook, Program Diary and Directory.
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British Kinematograph, Sound and Television Society "Academy Awards for BKSTS Sponsor Members". London, 1999 pg. 6New Electronics "Engineering Oscar". Findlay Media, 1999 pg.
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Gaumont's sound films. The Chronomégaphone, designed for large halls, employed compressed air to amplify the recorded sound.Wierzbicki (2009), p. 74; "Representative Kinematograph Shows" (1907).
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The film was a hit at the box office. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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According to Kinematograph Weekly it was the sixth most popular film of 1941 in Britain, after 49th Parallel, Great Dictator, Pimpernel Smith and Lady Hamilton.
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A report in the Kinematograph Weekly commented that the 69-year-old comedian was still able to "stand up to the screen by day and variety by night."Quote taken from Kinematograph Weekly; Wilson, p. 157. A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was "a perfect study in bewildered embarrassment".
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The British Kinematograph, Sound and Television Society (BKSTS) is an organisation which serves the technical and craft skills of the film, sound and television industries. It was formed in 1931, originally named the British Kinematograph Society. The BKSTS was founded in London, England in 1931 to serve the growing film industry. It organizes meetings, presentations, seminars, international exhibitions, conferences, and an extensive programme of training courses, lectures, workshops and special events.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958. It was one of the twelve most popular films of the year.
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Although IMDb gives a release date of 7 February 1944, the British Film Institute states there were early December 1943 reviews in the Monthly Film Bulletin and Kinematograph Weekly.
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Cover of Kine Weekly: March 3rd, 1966 The Kinematograph Weekly, popularly known as Kine Weekly, was a trade newspaper catering to the British film industry between 1889 and 1971.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958. It was one of the twelve most popular films in Britain that year.
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The film was one of the most popular of the year in France. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Kinematograph Weekly listed it as being "in the money" at the British box office in 1958. It was one of the twelve most popular films of the year in Britain.
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The film was one of the most popular at the British box office in 1958. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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The First of the Few was received well by audiences on both sides of the Atlantic. According to Kinematograph Weekly it was the most popular British film of 1942 in Britain.
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The film was one of the twelve most popular at the British box office in 1958. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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At the BBC he worked on the BBC Micro computer project and digital television. He was a member of the British Kinematograph, Sound and Television Society and the Society of Motion Picture and Television Engineers.
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268 In the United Kingdom, press was mixed. The Kinematograph Weekly thought the film was "quite well acted, and has good atmosphere" but thought, too, it was "not for the squeamish or the highly intelligent".
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The Troubles of an Heiress is a 1914 British silent comedy film directed by Sidney Northcote and starring Miss Normand, M. Gray Murray and Vera Northcote. It was produced by the British and Colonial Kinematograph Company.
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The Kinematograph Weekly review is the only official acknowledgment that the film existed; there is no record of the film ever being theatrically released. To date, no prints or press materials on the film have surfaced.
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Love and Hate is a 1924 British silent comedy film directed by Thomas Bentley and starring George Foley, Eve Chambers and Frank Perfitt. It was made by British & Colonial Kinematograph Company at the company's Walthamstow Studios.
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Wanted, a Boy is a 1924 British silent comedy film directed by Thomas Bentley and starring Sydney Fairbrother, Lionelle Howard and Pauline Johnson. It was made by British & Colonial Kinematograph Company at the company's Walthamstow Studios.
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Kinematograph Weekly listed a series of films that were "runners up" in its survey of the most popular films in Britain in 1943: The Gentle Sex, The Lamp Still Burns, Dear Octopus and The Adventures of Tartu.
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Kinematograph Weekly listed a series of films that were "runners up" in its survey of the most popular films in Britain in 1943: The Gentle Sex, The Lamp Still Burns, Dear Octopus and The Adventures of Tartu.
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Kinematograph Weekly listed a series of films that were "runners up" in its survey of the most popular films in Britain in 1943: The Gentle Sex, The Lamp Still Burns, Dear Octopus and The Adventures of Tartu.
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After further expanding his business operations, in 1897, he married Eliza May Margaret (née Baldrey). The actor Dominic Cooper is their great-grandson. He commenced publishing The Optical Magic Lantern and Photographic Enlarger (c. 1890),Kine Weekly Online Index at British Cinema History Research Project Scott's Machinery Index (1902), The Talking Machine News (1903), The Music Dealer (1906), the Millinery Trade Journal (1906), the Violin Student (1906), The Kinematograph and Lantern Weekly (renamed in 1907),Brown, Geoff Criticism: The birth of the Kinematograph at BFI Screenonline and Bowling and Curling (1908).
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A number of these films were made in a studio in Sir Edward Watkin's pleasure grounds at Wembley Park, north- west London, after Walturdaw took over and adapted the old Variety Hall, a large wooden variety theatre, there in 1907. Turner developed one of the first sound and image synchronization systems, Cinematophone in 1907. He worked as managing director of Walturdaw, and its successor The Cinema Supply Company, until the 1930s. He was chairman of the Kinematograph Renter’s Society and the Kinematograph Manufacturer’s Association, and president of the Cinema Veterans Society.
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Baker entered the film industry in 1924 with Gainsborough Pictures; between 1930 and 1933, a senior partner in the accountancy firm of Baker, Todman and Co. He went on to become assistant general manager, production for Gainsborough and Gaumont British pictures corp, (1933–35). He was appointed director, secretary and general production manager and associate producer for Twentieth Century Productions Ltd, (1938–43). He joined Ealing studios as secretary in 1943 and was elected to the board in 1946."Kinematograph Year Book 1947", published by London, Kinematograph Publications Ltd, p.
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Foreign Correspondent did well at the box office, but its high cost meant it incurred a loss of $369,973. According to Kinematograph Weekly it was the second most popular film of 1940 in Britain (the first being Rebecca).
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The Soldier's Food is a 1942 British, black-and-white, sponsored film, of unknown direction and starring Ronald Shiner as a cast member.BFI.org It was produced by Verity Films and the Army Kinematograph Service for the Royal Army Ordnance Corps.
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Walter de Gruyter (1999) p. 840. The film was produced by the Natural Colour Kinematograph Company. It was distributed in the UK by Kineto Ltd. and released in the US by Shubert Feature Film (later World Film Company) in April of that year.
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Those who were deemed able were sent on a driving course and then on to a cine section.Sellars, T H. File ref LOC 703, AKS. Imperial War Museum Film Archive; Burrows, Ruby Winifred. "Experiences of a Young Woman in the Army Kinematograph Service (ATS)" 2005.
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During World War II (1939–1945) he was stationed in an anti-aircraft battery on the Thames Estuary throughout the whole of the London Blitz. He served with the Army Kinematograph Unit, and was the uncredited editor for a military orientation film, The New Lot (directed by Carol Reed-1943).
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Initial reviews to the film were very positive. Die illustrierte Filmwoche noted how no other film had created such anticipation and disappointed so little. Die Kinematograph saw it as a masterpiece of German film-making skill, while Der Film believed that "it will win over foreign markets".Carjels (2011) p.
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The film had the highest audiences in Britain for a British film that year. at Trove According to Kinematograph Weekly the "biggest winners" at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette.
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A Man's Affair is a 1949 British comedy film directed by Jay Lewis and starring Hamish Menzies, Cliff Gordon and Diana Decker.Palmer p.188 It was made as a second feature, and released by Exclusive Films. Both Lewis and most of his crew were former members of the Army Kinematograph Service.
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According to Kinematograph Weekly the film was one of the most popular at the British box office in 1942, after Mrs Miniver, First of the Few, How Green was My Valley, Reap the Wild Wind, Holiday Inn, Captains of the Clouds, and Sergeant York and before Hatter's Castle and Young Mr Pitt.
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It was the most popular film at the British box office for 1947. According to Kinematograph Weekly the 'biggest winner' at the box office in 1947 Britain was The Courtneys of Curzon Street, with "runners up" being The Jolson Story, Great Expectations, Odd Man Out, Frieda, Holiday Camp and Duel in the Sun.
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With Lewis gone, Box ran the company alone and found quick success. Turnover during 1942 was £75,000, and after paying salaries of £5,000 to Box and others, Verity still made a £2,000 profit. A January 1943 report in Kinematograph Weekly called Verity "by far the largest documentary film organisation in Great Britain".
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Boswall has taught courses in the UK and internationally on natural history film-making. He appeared on the jury at a number of international wildlife film festivals. Boswall's overall contribution to natural history broadcasting has been recognised by awards from the Royal Geographic Society and the British Kinematograph Sound and Television Society.
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Albert Broccoli accompanied a second unit crew down there for over three months. Shooting took place at Pinewood Studios."The Future Programme", Kinematograph Weekly, 31 May 1956 p 14 Director Mark Robson wanted Eugene Pallette to play a role but Pallette was unhappy with the size of the part in the script.
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According to Kinematograph Weekly the film was one of the most popular at the British box office in 1942, after Mrs Miniver, First of the Few, How Green was My Valley, Reap the Wild Wind, Holiday Inn, Captains of the Clouds, Sergeant York, One of Our Air Craft is Missing and before Young Mr Pitt.
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In 1947, he was managing director of Davies Cinemas Ltd, with offices at 26-27, D'Arblay Street, London W1."Davies, John Wingett" in Kinematograph Year Book 1947, p. 66 In 1952 he was vice-president of the CEAThe Film Daily Year Book of Motion Pictures (John W. Alicoate, 1952), p. 724 and later President.
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He was also an accomplished still photographer and book author, publishing in 1914 How to Become an Alpinist, which is illustrated with his photographs. Burlingham initially produced films while working in London for the British and Colonial Kinematograph Company, but he later developed his films independently and released them under contract with licensed distributors.
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Born in Tottenham, Middlesex, Willis was elected Chairman of the Labour League of Youth as the candidate of the left in 1937. In 1941, he became Secretary General of the Young Communist League. He was also drama critic for the Daily Worker.Obituary, The Independent Willis enlisted in the Royal Fusiliers in 1939, subsequently serving in the Army Kinematograph Service.
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The film ranked in the top 10 British box office hits in terms of gross profits in 1958. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958. It was popular and well reviewed. Logan saw the movie expecting to find it different from the play and was surprised to find it "verbatim" like Kind Sir.
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As such in 1935 he became a representative of the Film Producers Group on the Federation of British Industries, a member of the Kinematograph Advisory Committee and an adviser to the British Films Advancement Council.'SHIPWRIGHT, Sqdn Ldr Denis E. B. K.', Who Was Who, A & C Black, 1920–2008; online edn, Oxford University Press, December 2007, accessed 2 January 2010.
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In 1897 German toy manufacturer Gebrüder Bing had a first prototype of their kinematograph. In November 1898 they presented this toy film projector, possibly the first of its kind, at a toy festival in Leipzig. Soon other toy manufacturers, including Ernst Plank and Georges Carette, sold similar devices. Around the same time the French company Lapierre marketed a similar projector.
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He worked as a senior journalist at the Berlin film journal Der Kinematograph, writing film reviews.Hollywood in Berlin by Thomas J. Saunders (see note 64) He wrote a biography of the silent-film star Henny Porten. In 1918, he began his career as a screenwriter. For seven years from 1919, he collaborated with Max Jungk, and in 1928 he worked with Frederick Raff.
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According to Kinematograph Weekly it was the most popular film at the British box office in 1941. In the US, Universal turned the film down but it was bought by Columbia for distribution in North America for a reported $200,000. Variety estimated it earned $1.3 million in US rentals in 1942. The film ended up earning $5 million at the North American box office.
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From 1943 to 1946, Baker was president of the Kinematograph Renter's Society of Great Britain and Ireland (KRS) and from 1950 to 1953, president of the British Film Producers Association (BFPA)."International Television Almanac", by Richard Gertner, published by Quickly publishing company 1979, p.15 He lived at Loddenden Manor, a 300 acres estate situated in Staplehurst, Kent until 1954."Country Life", volume 116, 1954.
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The Blue Lagoon was the seventh most popular film at the British box office in 1949. According to Kinematograph Weekly the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River and You Can't Sleep Here.
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Edward Thomas "E.T." Heron (18 April 1867 – 1949) was a pioneering English film enthusiast who published The Kinematograph Weekly. An industrialist and printing entrepreneur, he established a number of technical and trade journals. A freemason, he was mayor of St Pancras in 1908, and founded the printing and publishing company E. T. Heron and Co Ltd, at Tottenham Court Road, London and at Silver End, Essex.
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Noreen Ackland (1921 – 15 April 2013) was a British film editor active primarily in the 1960s. She was married to film editor Richard Best. She got her start during World War II when she joined the editing room at the Army Kinematograph Unit. She worked as an assistant to Reginald Mills early on before getting her first full editor credit on the thriller Peeping Tom (1960).
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The film was received very positively by critics. One Irish newspaper described it as "one of the best films about Ireland ever made." Kinematograph Weekly summed up its positive response to the film as: "Good story, competent treatment, captivating juvenile angle, effective dramatic twists, good comedy and excellent atmosphere." In Australia, The Examiner described it as "one of the surprise hits of the year".
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Praise was particularly given to the two main actors, Shaun Glenville and Peggy Cummins. Despite the latter's young age, Kinematograph Weekly predicted that "Given the chance, she'll go far". Halliwell's Film Guide describes it as a "somewhat woebegone tearjerker with an interesting cast". The film is missing from the BFI National Archive, and is listed as one of the British Film Institute's "75 Most Wanted" lost films.
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The film historians Steve Chibnall and Brian McFarlane note that The End of the Road was "rightly praised" at the time of its release by Kinematograph Weekly as "provocative and purposeful entertainment", and they add that it is "characterised by a real feeling for cramped working-class life and for the gap left when suddenly one is no longer required to be anywhere on a regular basis".
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According to the final issue of Kinematograph Weekly (published in 1971), the title was sold to British and American Film Holdings Ltd, which merged it with rival film-trade paper, Today's Cinema which, in turn, was relaunched in September 1975 as Screen International, which is now owned and published by Media Business Insight. The issues of Kinematograph Weekly provide an invaluable record of the development of the British film and television industries, and are widely studied by researchers. In particular, its published annual polls provide the most complete British box-office records available. A partial index of the newspaper—covering the period 1955 to the end of the publication in 1971, plus material from the late 1890s, early-1915, 1943 to mid-1945 and January to June 1954—has been produced by the British Cinema History Research Project, based at the University of East Anglia, and is available online.
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Chopin's life and romantic tribulations have been fictionalised in numerous films. As early as 1919, Chopin's relationships with three women – his youth sweetheart Mariolka, then with Polish singer Sonja Radkowska, and later with George Sand – were portrayed in the German silent film Nocturno der Liebe (1919), with Chopin's music serving as a backdrop."Der Film" magazine, Berlin, 1919 (nr. 2), p. 40"Der Kinematograph" magazine, Düsseldorf, 1919 (nr.
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In the United Kingdom, The Third Man was the most popular film at the British box office for 1949. According to Kinematograph Weekly the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River and You Can't Sleep Here.
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Edison's portrayal of the charge's aftermath. Elsewhere in Europe and in the British Empire, the American film continued to be well received in the months after its release. The picture by December 1912 was being successfully marketed in Germany under the title Der Todesritt bei Balaklava ("The Death Ride at Balaklava")."2620 Der Todesritt bei Balaklava Edison", Der Kinematograph (Düsseldorf, Germany), No. 313, December 25, 1912, p. 383.
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Subsequently, the second cinema of Linz was opened a few months later. As the owner of travelling cinemas, Johann Bläser, got settled in Linz, he bought the "Hotel of the Golden Ship", and installed a cinema in it, the "Bio-Kinematograph". The third stationary cinema, called "Kino Kolloseum", in town was founded around 1910 by the vaudeville operator Karl Roithner. Its first location was the former festival hall at Hessenplatz.
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The film has an entry in the Library of Congress, along with being listed as a lost film. The six reel film adaptation was described as a rural and society drama. Kinematograph Weekly wrote that "The fairy-book idea is certainly very intriguing, and has enabled the scenario writer to achieve a much-desired happy ending." A Destiny song was released in 1919 with lyrics by Alfred Bryan and music by Herbert Spencer.
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Thunderbirds is generally considered the Andersons' most popular series and their greatest critical and commercial success.Taylor and Trim, p. 71. In 1966, the series received a Royal Television Society Silver Medal for Outstanding Artistic Achievement and Gerry Anderson received an honorary fellowship of the British Kinematograph, Sound and Television Society. In 2007, Thunderbirds achieved 19th place in a Radio Times magazine reader poll to determine the best science-fiction TV programme of all time.
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Its name is seen on many colour films of the post- war period. It was one of the first to install colour processing equipment under the vision of George Hawkes (technical director) with A.W. Smart and Charles Parkhouse. He was awarded a Fellowship by the British Kinematograph, Sound and Television Society. His family home was Dukes Place in Wortham, Kent and he had an apartment over the studios in Greek Street, London.
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He was awarded the prestigious Jawaharlal Nehru Fellowship in 1974. Kaul was one of the co-founders of the Yukt Film Co-operative (Union of Kinematograph Technicians) in 1976, leading to avant-garde films. Critics opined in "Mani Kaul's cinematic conception, fiction and documentary films have no clear demarcated dividing line." He also taught music in the Netherlands, and was Creative Director of the film house at Osian's Connoisseurs of Art, Mumbai.
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A suite by Holland based on music from the play was frequently broadcast at Christmas time during the 1920s and 1930s on BBC Radio. The play was a combination of live-action and two-tone Kinemacolor film. In the UK the film was distributed by the Natural Colour Kinematograph Co. in 1912 (610 m - 2 reels) and in the United States by the Kinemacolor Company of America in 1913 (900 m - 3 reels).
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Edmund Distin Maddick (1857–1939) was an English surgeon and pioneer of cinema. Studying medicine at St Thomas' Hospital, he became a doctor and later a surgeon in the Royal Navy, where achieved the rank of Admiral (Surgeon) of the Fleet. He was also a surgeon to the Italian Hospital in London and was a Knight to the Crown of Italy. Becoming interested in cinematography, he rebuilt the Scala Theatre in 1905 and fitted it out for a Kinematograph.
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Kinematograph Weekly was owned by the periodical publisher Odhams. Towards the latter part of its run it was published by Odhams' subsidiary Longacre Press. This was the name Odhams had given to Hultons—publisher of Picture Post (the magazine which pioneered photojournalism in the UK) and of the famous Eagle comic among other titles—when it took over that company in 1960. In 1970, Odhams itself was taken over by IPC Specialist and Professional Press Ltd.
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The Way Ahead was written by Eric Ambler and Peter Ustinov, and directed by Carol Reed. The three had originally produced the 1943 44-minute training film The New Lot, which was produced for the Army Kinematograph Service. The Way Ahead was an expanded remake of their earlier film, this time intended for a commercial audience. The two films featured some of the same actors, including John Laurie, Raymond Huntley and a 23-year-old Peter Ustinov.
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The Vengeance of Fu Manchu is a 1967 British film directed by Jeremy Summers and starring Christopher Lee, Horst Frank, Douglas Wilmer and Tsai Chin. It was the third British/West German Constantin Film co-production of the Dr. Fu Manchu series and the first to be filmed in Hong Kong. It was generally released in the U.K. through Warner-Pathé (as a support feature to the Lindsay Shonteff film The Million Eyes of Sumuru) on 3 December 1967.Kinematograph Weekly vol.
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Operated and programmed by the British Film Institute, it re-opened as the National Film Theatre in October 1952, until its demolition in 1957 as the NFT was relocated a stone's throw away from its original site, under Waterloo Bridge.Wells Coates, 'Planning the Festival of Britain Telekinema', in the Journal of the British Kinematograph Society, April 1951, pp.108-119 He also designed a remarkable boat, called the Wingsail. It had a rigid sail design mounted on a catamaran hull.
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The film was the ninth most popular movie at the British box office in 1947.James Mason 1947 Film Favourite The Irish Times 2 January 1948: 7. According to Kinematograph Weekly the 'biggest winner' at the box office in 1947 Britain was The Courtneys of Curzon Street, with "runners up" being The Jolson Story, Great Expectations, Odd Man Out, Frieda, Holiday Camp and Duel in the Sun. The film was released in 1948 in the United States to excellent box office results.
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The anonymous reviewer for the British Kinematograph Weekly called the cast "competent" and noted that, while the "plot [was] at least as old as H. G. Wells", there was something about the film that would challenge the "hard-boiled child of today". Many reviews were critical of the film's resemblance to The Fly. British magazine Time Out later pointed it out, as did TV Guide. Audiences also noted that it was similar to the 1959 science fiction film 4D Man.
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The film was one of the twelve most popular movies at the British box office in 1958 (that list included several other war related movies - The Bridge on the River Kwai, The Camp on Blood Island, Dunkirk, The Key, Carve Her Name with Pride, The Wind Cannot Read - as well as Carry On Sergeant, A Cry from the Streets, Happy Is the Bride and Indiscreet.) Kinematograph Weekly listed it as being "in the money" at the British box office in 1958.
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Peter Austin Harley Newbrook BSC (29 June 1920 – 19 June 2009) was an English cinematographer, director, producer and writer. Newbrook was born in Chester and educated at the Chester, and Worcester Cathedral schools, and the Ewell Castle School. He began his career as a trainee cameraman and focus puller with Warner Brothers British studios at Teddington in London. During the Second World War he made Army training films with the Army Kinematograph Service and was commissioned as a Second Lieutenant.
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While still a student at Cambridge, Belfrage began his writing career as a film critic, publishing his first article in Kinematograph Weekly in 1924. In 1927 he went to Hollywood, where he was hired by the New York Sun and Film Weekly as a correspondent. Belfrage returned to London in 1930 as Sam Goldwyn's press agent. Returning to Hollywood, he became politically active, joining the Hollywood Anti-Nazi League and co-editing a left-wing literary magazine called The Clipper.
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A film projector advertisement (1912) The Walturdaw Company Limited was a pre- First World War British film company. The name comes from a conflation of the surnames of the company's founders, J.D. Walker, Edward George Turner, and G.H. Dawson. The company manufactured film cameras and projectors, as well as dealing in a wide variety of equipment relevant to the "kinematograph industry" and distributing and producing films. According to IMDb, Walturdaw started making films in 1901, their first being The Life and Death of Queen Victoria.
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This is an article about film censorship in the United Kingdom. Early cinema exhibition became subject to the Disorderly Houses Act 1751. The Cinematograph Act 1909 was primarily concerned with introducing annual licensing of premises where films were shown, particularly because of the fire risk of nitrate film. After the Act began to be used by local authorities to control what was shown, the film industry responded by establishing a British Board of Film Censors (BBFC) in 1912, funded by an Incorporated Association of Kinematograph Manufacturers levy.
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Eventually he was assigned as cameraman and director to the Army Kinematograph Service at Wembley Studios, where he worked on many training films. About this, Francis said "Most of the time I was with various film units within the service, so I got quite a bit of experience in all sorts of jobs, including being a cameraman and editing and generally being a jack of all trades." Following his return to civilian life, Francis spent the next 10 years working as a camera operator.
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Two-page advert for the film in 17 July 1943 issue of Kinematograph Weekly, made by famous illustrator Eric Fraser. The film focuses on the fictional Petrovitch family in Belgrade, Serbia. One brother, Milosh, a Yugoslav military captain (John Clements) forms an anti-Nazi guerilla movement in the mountains of Serbia. His brother, Dr. Stephan Petrovitch (Stephen Murray), poses as a Nazi collaborator to obtain information for the guerrillas while working directly under General von Staengel (Godfrey Tearle), commander of the German occupation force.
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According to Kinematograph Weekly the 'biggest winners' at the box office in 1944 Britain were For Whom the Bell Tolls, This Happy Breed, Song of Bernadette, Going My Way, This Is the Army, Jane Eyre, The Story of Dr Wassell, Cover Girl, White Cliffs of Dover, Sweet Rosie O'Grady and Fanny By Gaslight. The biggest British hits of the year were, in order, Breed, Fanny By Gaslight, The Way Ahead and Love Story.Reeves p.180 However, it performed very badly at the box office in the US.
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Platige Image won international recognition and acclaim for its animated shorts, including The Cathedral (2003), Fallen Art (2004), Ark (2007), The Kinematograph (2009), Paths of Hate (2010), and the cinematics The Witcher and its sequel. The Platige team was also involved in multiple unique projects, including City of Ruins, the first ever stereoscopic reconstruction of a razed city, and the stereoscopic interpretation of Jan Matejko's painting, Battle of Grunwald. In 2011, Platige created the “Move Your Imagination” campaign that promoted Poland at ITB Berlin, the largest international tourism trade fair.
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"These Are the Facts", Kinematograph Weekly, 31 May 1956, p 14 The limpet mine scenes were filmed in the King George V Docks in North Woolwich and many of the other scenes were filmed on the adjacent bomb sites and at derelict houses in the area. Lieutenant Colonel Herbert "Blondie" Hasler, RM, the leader of the real- life raid, was seconded to Warwick Films as a technical advisor. Ex-Corporal Bill Sparks, the other survivor of the raid, was also an advisor. "It was not a happy picture at all," said Forbes.
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The Winslow Boy was one of the most popular films at the British box office in 1948. According to Kinematograph Weekly the 'biggest winner' at the box office in 1948 Britain was The Best Years of Our Lives with Spring in Park Lane being the best British film and "runners up" being It Always Rains on Sunday, My Brother Jonathan, Road to Rio, Miranda, An Ideal Husband, Naked City, The Red Shoes, Green Dolphin Street, Forever Amber, Life with Father, The Weaker Sex, Oliver Twist, The Fallen Idol and The Winslow Boy.
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Godsol was chairman of Goldwyn Pictures (later MGM) from 1919 to 1924. Menchen returned to the US in February 1917 (one reason why his firm failed to make any returns from 1916 on), and the Menchen Film Co. was wound up by notice in the London Gazette 10 Jan 1920.Kinematograph Year Book 1915 (p.88), cited in Menchen Film Co Ltd at the London Project Main entrance of the Prince Edward Theatre on Old Compton Street ; 1917 The Samson Film Company had its offices at No. 20 in 1917.
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The film was at best only a modest commercial success due to its original huge budget and a relatively poor impact in America. The film was one of the twenty most popular films of the year in Britain according to Motion Picture Herald. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958. By 2001 it had not made a profit, in part because the film was issued as part of a slate of ten films and all its profits were cross-collateralised.
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The New Lot is a 1943 British drama film directed by Carol Reed and starring Eric Ambler, Robert Donat, Kathleen Harrison, Bernard Lee, Raymond Huntley, John Laurie, Peter Ustinov and Austin Trevor, with music by Richard Addinsell. It is a short training film made for the Army Kinematograph Service, which follows five new recruits from different background and their experiences as they join the army. The film was later expanded and remade as The Way Ahead, co-written by Ambler and Ustinov, directed by Carol Reed, and starring David Niven.
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According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia.
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Dokumentation der 1. Expertentagung zu Fragen Regionaler Filmforschung und Kinokultur in Oldenburg, Oldenburg: Bibliotheks- und Informationssystem der Carl von Ossietzky Universität Oldenburg, 1993, , p. 122 "Das Kinematographentheater der Neuzeit, sein Bau und seine architektonische Entwicklung", Der Kinematograph 8 March 1911; summarised by Daniel Fritsch, Georg Simmel im Kino: die Soziologie des frühen Films und das Abenteuer der Moderne, Bielefeld: transcript, 2009, , pp. 55-58 The cinema was renamed the Union in 1915, the Titania in 1928, the U.T. (Union Theater) Königsallee in 1931, and finally the Lichtburg, also in 1931.
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Alfred J West invented his own shutter and stabilising devices and mounted his heavy dry plate camera in the well of a sailing yawl. This was manoeuvred by his boatman under the lee of large racing yachts to obtain the best shots of these heavily-canvassed vessels at full speed. In 1898, during the early period of Cinematographic technical development, his employee James Adams was granted a patent for "Improvements in and relating to cameras and projecting Apparatus for Kinematograph Pictures" (No. 9738 of AD 1898) by the UK Patent Office.
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Cooper was born and brought up in Greenwich, London, the son of Julie (née Heron), a nursery school teacher, and Brian Cooper, an auctioneer. He has two brothers, Simon and Nathan, a musician in the band The Modern, a half-brother, James, and a half-sister, Emma. His maternal great-grandfather was film-enthusiast E. T. Heron, who published The Kinematograph Weekly. Dominic attended John Ball Primary School in Blackheath, London, followed by Thomas Tallis School in nearby Kidbrooke, then trained at the London Academy of Music and Dramatic Art (LAMDA) in acting and film editing, graduating in 2000.
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The film was very popular at the British box office. According to Kinematograph Weekly the 'biggest winners' at the box office in 1944 Britain were For Whom the Bell Tolls, This Happy Breed, Song of Bernadette, Going My Way, This Is the Army, Jane Eyre, The Story of Dr Wassell, Cover Girl, White Cliffs of Dover, Sweet Rosie O'Grady and Fanny By Gaslight (the latter being from the same studio as Love Story, and also starring Stewart Granger). The biggest British hits of the year were This Happy Breed, with runners up being Fanny By Gaslight, The Way Ahead and Love Story.
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The location unit usually comprised a director, two cameramen, two sound recordists, two assistants and a welfare officer responsible for making the contacts. At least one of the location units operated as part of the Army Kinematograph Service (AKS) and had been sent out from the UK to assist.The Indian documentary maker NS Thapa was a studio-based cameraman on Calling Blighty. Generally, people from one particular city, town or region were grouped together in order to facilitate screening back in the UK, and while personnel from all three services are featured, they are predominantly from the army.
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The critics also praised the film, and the Kinematograph Weekly called it Formby's "best performance to date", and the film, "a box office certainty". Formby's ENSA commitments were heavy, touring factories, theatres and concert halls around Britain. He also gave free concerts for charities and worthy causes, and raised £10,000 for the Fleetwood Fund on behalf of the families of missing trawlermen. He and Beryl also set up their own charities, such as the OK Club for Kids, whose aim was to provide cigarettes for Yorkshire soldiers, and the Jump Fund, to provide home-knitted balaclavas, scarves and socks to servicemen.
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Workers clear up bomb damage in front of the Scala Cinema during the Manchester Blitz, October 1940 The cinema is thought to have opened around 1912 as The Scala. A company called The Scala Electric Palace (Withington) Ltd was registered in 1912, and in the 1914 Yearbook of Kinematograph Weekly the cinema is listed as having opened in January 1913 as The Scala Picturedrome. It was the third cinema to open in Britain, and by the time of its closure in 2001 it was the third longest-running cinema in the country. Its original single-screen auditorium had been fitted with 675 seats.
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Fallen Art also received a BAFTA Award for Best Short Animation and a Grand Prix for Digital Shorts at Golden Horse Film Festival 2005 (shared with Jarek Sawko and Piotr Sikora) as well as Prix Ars Electronica. Bagiński has also created cinematics for The Witcher computer game based on the books by Andrzej Sapkowski and will co-direct a Netflix series based on The Witcher by Platige Image and Sean Daniel Company. He is the author of all covers of Jacek Dukaj books, including the novel entitled Ice. In 2009, he directed another short film, The Kinematograph, based on a comic book by Mateusz Skutnik from the album Revolutions: Monochrome.
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Others, such as The Lusitania at Liverpool (1907), were presumably filmed outdoors. E.G. Turner later wrote “we were buyers and sellers of everything in the kinematograph Industry, new or secondhand. There was one member, however, whose inclinations were photographically inclined, and so we took lease of Wembley Park and erected there something novel in the way of outdoor studios – a revolving platform, which allowed us to put up three sets of scenery at a time, when the wind allowed it, and each could be brought to the camera as required. Further, it was so constructed that we could always get the best of the light and sunshine.
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TNA: BT 31/20938/124406. The General Post Office used Bowell's design of master and slave clock system from 1910, installing a Silent Electric 'chronopher' at St Martins-le-Grand for distributing the Greenwich Time Service around the Post Office network. Bowell had abandoned the electrically reset Gravity escapement of the Synchronome system in favour of the electrically maintained pendulum design of Matthäus Hipp, and the Post Office used his basic design of clock, in telephone exchanges and for call-timing purposes, for much of the balance of the twentieth century. Bowell abandoned time systems before World War I to work on designs for a kinematograph known as the 'Flikless'.
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Scott of the Antarctic was the third most popular film at the British box office in 1949. According to Kinematograph Weekly the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River and You Can't Sleep Here. The film also performed well at the box office in Japan.FILM SCENE ALONG THE BANKS OF THE THAMES: U.S. Industry Winner in Anglo-American Parley--Production Sheet in the Red Tax Takes Profits Freeze in Reverse Tom Brown By STEPHEN WATTS.
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British and Colonial Films was a British company making predominantly silent films in London between 1908 and 1924. It was also known by the abbreviation B & C. The British and Colonial Kinematograph Company was formed in 1908 by Albert Henry ("Bert") Bloomfield (c.1882–1933)Biography of A. H. Bloomfield at British Universities Film & Video Council and John Benjamin ("Mac") McDowell (1878–1954).Biography of J. B. McDowell at British Universities Film & Video Council At first it operated from a rented basement in central London, using a single camera and developing the negatives in McDowell's house, but soon moved to studios at Newstead House in East Finchley, London.
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In 1990, Francis was made both a Fellow of the British Kinematograph, Sound and Television Society and a Fellow of the British Film Institute for his work in film and television preservation. He was awarded the Order of the British Empire by Queen Elizabeth II for his contributions to film archiving and for his work on the Getty Center in the 1986 Birthday Honours. In 1994 Francis was awarded the Premio Jean Mitry by the organisers of the Giornate del cinema muto, the Pordenone-based festival devoted to silent cinema. He has been an Honorary Member of the International Federation of Film Archives since 2001.
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He was born in 1872 and began showing films in 1896. Below is a quote from Turner's writing for Kinematograph Weekly, a publication he wrote for in 1926: > "For our first display we hired the hall adjoining the Constitutional Club, > Guildford, from Monday, November 16, 1896, our takings that night being £8 > 1s 1d. the intervening days up to Friday, November 20, were used in posting > our bills and distributing handbills from door to door at Godalming, ready > for the show to be given there on that night." He founded the film studio Walturdaw on 25 August 1904 in Britain with George Harry John Dawson and John Dewhurst Walker.
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This then was the direct ancestor of the helicopter rotor and the aircraft propeller."Colin Ronan (1994). The Shorter Science and Civilization in China: an abridgement of Joseph Needham's original text, Cambridge University Press, Volume 4, Part 2, p. 283 Discussing the history of Chinese inventiveness, the British scientist, sinologist, and historian Joseph Needham wrote, "Some inventions seem to have arisen merely from a whimsical curiosity, such as the 'hot air balloons' made from eggshells which did not lead to any aeronautical use or aerodynamic discoveries, or the zoetrope which did not lead onto the kinematograph, or the helicopter top which did not lead to the helicopter.
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"ZANUCK PREDICTS REHEARSED FILMS: Urges Screen Guild to Fix Two Pay Scales in Move to Cut Movie Costs" by THOMAS M. PRYOR Special to THE NEW YORK TIMES.. New York Times 11 June 1953: 37. Shooting took place at Pinewood Studios, with exterior shots filmed at Castell Coch, Wales, and on location in Ávila, Spain."These Are the Facts", Kinematograph Weekly, 31 May 1956 p 14"Allen, Broccoli Make American Pictures Abroad" Los Angeles Times 10 Jan 1954: E4. Producer Irwin Allen called Spain "a wonderful country to make pictures in" because of its more than 2,000 old castles, twelve of which were used in the film.
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The film was hugely popular in Britain. The Motion Picture Herald said it was the third most watched film of the year after The Third Man and Johnny Belinda and more than Scott of the Antarctic, Paleface, Easter Parade, Blue Lagoon, Red River, The Secret Life of Walter Mitty and The Hasty Heart. Neagle and Wilding were voted the most popular stars of the year in Britain. According to Kinematograph Weekly the 'biggest winner' at the box office in 1949 Britain was The Third Man with "runners up" being Johnny Belinda, The Secret Life of Walter Mitty, Paleface, Scott of the Antarctic, The Blue Lagoon, Maytime in Mayfair, Easter Parade, Red River and You Can't Sleep Here.
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Critical reaction to Out of This World was, on the whole, positive: Kinematograph Weekly commented that the series was "the most intelligent and best written of its genre since Quatermass"Ward, Out of the Unknown, p. 18. while The Times said, "in general the level of writing and direction has been encouragingly high [...] Out of This World may well help to banish forever the view of the summer as a time when just anything will do".Ward, Out of the Unknown, p. 19. H. F. Hall, writing in the Yorkshire Evening Post, described Out of This World as "the most accomplished thing of its kind that TV has yet produced... well schemed scripting and disciplined production".
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During the war, Verity produced more than 100 films, most of them at the small and badly soundproofed Merton Park Studios in South London, although for some productions, Verity rented Riverside Studios in Hammersmith. Already, by this point, Box had begun to broaden the management of Verity Films. An item in the edition of 7 December 1944 of Kinematograph Weekly noted that A. T. Burlinson had taken over as managing director while Box worked on The Seventh Veil (1945). Director Gerry O'Hara landed a job as a runner at Verity in 1941 at the age of 17, as he told Wheeler Winston Dixon: > O'Hara: I got a job there at 3 pounds 7/6 a week.
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Anzio Ritz, a small dug-out cinema created for Fifth Army troops on the Anzio Bridgehead in Italy, March 1944 The Army Kinematograph Service (AKS) was established by the British government in August 1941 to meet the increasing training and recreational needs of an army at war. Created by the newly established Directorate of Army Kinematography, whose remit was "to be responsible for providing and exhibiting all films required by the Army (at home and abroad) for training, educational and recreational purposes",The National Archives of the UK (TNA): WO 165/96 it expanded over the next few years to become the most prominent film production and exhibition section for a major part of the British Armed Forces.
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TV Guide gave the film 2.5 out of four stars, calling it a "good programmer" ; and Mystery File wrote, "after a slow beginning, I’d have to say that halfway into the film if not earlier, I was hooked to the screen, waiting for the answer. A minor film, to be sure, but recommended, definitely so." The film historians Steve Chibnall and Brian McFarlane describe it as "a work of genuine ideological dissonance which questioned the conventional wisdom about crime and punishment", and they note that Kinematograph Weekly said at the time that Offbeat "carries a kick of one twice its size".Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, p. 59.
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In 1911, Starewicz moved to Moscow and began work with the film company of Aleksandr Khanzhonkov. There he made two dozen films, most of them puppet animations using dead animals. Of these, The Beautiful Leukanida (premiere – 1912), first puppet film with a plot inspired in the story of Agamenon and Menelas, earned international acclaim (one British reviewer was tricked into thinking the stars were live trained insects), while The Grasshopper and the Ant (1911) got Starewicz decorated by the czar. But the best-known film of this period, was Mest' kinematograficheskogo operatora (Revenge of the Kinematograph Cameraman, aka The Cameraman's Revenge) (1912), a cynical work about infidelity and jealousy among the insects.
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According to trade papers, the film was a "notable box office attraction" at British cinemas.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p209 According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia.
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The Monthly Film Bulletin called the film "outstanding." It was one of the most popular movies at the British box office in 1948. According to Kinematograph Weekly the 'biggest winner' at the box office in 1948 Britain was The Best Years of Our Lives with Spring in Park Lane being the best British film and "runners up" being It Always Rains on Sunday, My Brother Jonathan, Road to Rio, Miranda, An Ideal Husband, Naked City, The Red Shoes, Green Dolphin Street, Forever Amber, Life with Father, The Weaker Sex, Oliver Twist, The Fallen Idol and The Winslow Boy. The Fallen Idol was included at number 48 on Time Out magazine's list of the "100 best British films", which polled critics and members of the film industry.
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The film showcased the use of Kinemacolor, which had been launched by Charles Urban in 1908 as the first successful natural colour motion picture process. It was produced by Urban's Natural Color Kinematograph Company and he took five camera operators with him: Joseph De Frenes, Albuin Mariner, Alfred Gosden, Hiram Horton and an unidentified fifth (possibly John Mackenzie). Charles Urban (centre) and camera team at Delhi in 1911 Frames from lost sequence of With Our King and Queen Through India showing the state entry into Delhi. Kinemacolor films appear black-and-white - the colour effect occurs in projection British filmmakers had previously filmed the Delhi Durbar marking the coronation of King Edward VII in 1903 (which Edward did not attend).
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It developed a reputation for both documentaries and feature films, notably the Lieutenant Daring series, featuring Percy Morgan, and the Dick Turpin and Don Q films. Barnet LBC: Red Lion, Finchley Nicholas Hiley, Encyclopedia Of Early Cinema: British and Colonial Kinematograph Company By 1912 it had begun making longer films, such as Robin Hood Outlawed, and using location footage, some shot by Fred Burlingham. Film & TV Database It also covered important news stories such as the funeral of Edward VII and the Coronation of George V, as well as major sporting fixtures. Biography of J. B. McDowell In 1910 the company made a film of the Canadian Pacific Railway and, in 1912, filmed the F.A. Cup Final and the Derby, as well as in Jamaica.
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The Wicked Lady was the most popular film at the British box office in 1946.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48 2003 p209 According to Kinematograph Weekly the "biggest winner" at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia.
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Jones first released music in 1982 as on Kinematograph, his own imprint, and the independent co-op label Recloose, run by Simon Crab. came from the do-it-yourself (DIY) ethos of the time and was musically composed of electronic/experimental drone with occasional synth- melodic hooks and use of radio broadcast samples. Releases at the time were occasionally on cassette, more often vinyl EPs and LPs; the longest running of Jones' label monikers, Limited Editions, started with Hunting Out with an Aerial Eye (1984) followed by Buddhist on Fire, put out by Recloose the same year. Since then, Jones roughly released an album a year, given scarce financial resources until 1988, when he began making inroads with then- emerging labels Staalplaat, Soleilmoon, and Extreme Records.
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The film was the first of a three-picture deal between director Edward Buzzell and producer Edward Small; the other two films were never shot. The screenplay was based on the play of the same name by Arthur Herzog Jr., Muriel Herman and Al Rosen, which had its West End opening at the Strand Theatre on 27 November 1951 in a production directed by the famous farceur Ralph Lynn.Frances Stephens, Theatre World Annual (London) number 3, Rockliff Publishing Corporation 1952 Production took place in October 1960 at Walton Studios near London under the supervision of David Rose.Bill Edwards, 'Production', Kinematograph Weekly vol 521 no 2767, 13 October 1960 The theme tune, Mary Had a Little..., was written by Buzzell and sung by Dick James.
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The film was successful on its release, being the fifth most popular film at the British box office for 1950. According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose.
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British Kinematograph, Sound and Television Society also made him a Fellow of the society in recognition of lifetime services to film and television in Sri Lanka and South Asia for "the development of film and television production techniques" which included pioneering professional color television production in South Asia in 1979. In 1979, Nihalsingha left the State Film Corporation and formed the Tele-Cine Limited with the help of Hemasiri Premawarne and Chandra Seneviratne. Tele-Cine Ltd was South Asia's and Sri Lanka's pioneer in professional color television production of television drama, commercials, musicals and documentary. As CEO of Tele-Cine for 16 years, Nihalsingha directed and pioneered the first television drama series in South Asia, Dimuthu Muthu, starring Devika Mihirani and Amarasiri Kanlansooriya.
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MacNab's Visit to London By 1906 Cooper had established the Alpha Trading Company, and started film production in his own right. His productions at this time include MacNab's Visit to London (1905), in which he plays the title role in a slapstick comedy about golf, and The Motor Pirate (1906), in which bandits in an armoured car make the roads unsafe. That year he also became one of the founder-members of the British Kinematograph Manufacturers Association. In 1907 Cooper set out on a special observation car, attached to the front of a train to film the long phantom ride film London to Killarney (1907) which was one of the longest to have been made at that time and was distributed in four parts.
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Statue of Persimmon at Sandringham The 1895 Derby had been filmed by Birt Acres, but the film was lost for many years, leading the film of Persimmon's win by Robert Paul being long regarded as the earliest film of a horse race and one of the first examples of Newsreel coverage. The Derby was recorded on a film described by the press as "2000 impressions on one long negative" which was later projected by "kinematograph". The film of the race, described in the press as an "animated picture" was a popular attraction at London's Alhambra Music Hall in the summer of 1896. By the end of the year, the film was being exhibited to appreciative audiences in Australia, and by early 1897 it was being shown in New Zealand by Carl Hertz.
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Trade papers called the film a "notable box office attraction" in British cinemas in 1950.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p212 According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose.
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Trade papers called the film a "notable box office attraction" in British cinemas in 1950.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p212 According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose.
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Cash on Demand was selected by the film historians Steve Chibnall and Brian McFarlane as one of the 15 most meritorious British B films made between the Second World War and 1970. They note that it also received enthusiastic reviews at the time of its release from The Monthly Film Bulletin and Kinematograph Weekly. They particularly praise Peter Cushing: "Above all, it is Peter Cushing's performance of the austere man, to whom efficiency matters most (though the film is subtle enough to allow him a certain integrity as well), and who will be frightened into a warmer sense of humanity, that lifts the film well above the perfunctory levels of much 'B' film-making."Steve Chibnall & Brian McFarlane, The British 'B' Film, Palgrave Macmillan, London, 2009, pp. 280–81.
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Trade papers called the film a "notable box office attraction" in British cinemas in 1950.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p. 212 According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose.
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Film versions of the story include a 1904 production by the Clarendon Film Company, directed by Percy Stow; a 1923 version made by the British and Colonial Kinematograph Company; and a 1926 production by Cosmopolitan Films, directed by C.C. Calvert. The Percy Stow film version of the story can be seen on the BFI player with a new specially commissioned score by Pete Wiggs from the band Saint Etienne The story of the Mistletoe Bough is also recounted in the 1948 Alfred Hitchcock film Rope, where it is said to be the favorite tale of the main character, Brandon Shaw. Unbeknownst to the story teller, Shaw has previously murdered his friend, former classmate David Kentley and hidden the body in the chest in front of which they are standing.
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The Williamson Kinematograph Company continued to make a range of cameras, processing and printing equipment and continued its pioneering work in aerial reconnaissance during the World War II. The pioneering film work of James Williamson, as well as Esme Collings and George Albert Smith, was commemorated in the 1966 BBC Television programme It Began in Brighton, produced by Melvyn Bragg and directed by Tristram Powell, and in the 1968 Brighton Festival. In 1996, as part of the celebration of the centenary of film, the work of Williamson and the other Brighton pioneers was commemorated by the unveiling of plaques, including one on Williamson's former premises in Church Street, an exhibition held at the University of Brighton Gallery and Hove Museum and the publication of Hove Pioneers and the Arrival of Cinema by John Barnes, Ine van Dooren and Frank Gray.
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Piccadilly Incident was the second most popular film at the British box office in 1946, after The Wicked Lady.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p. 209 According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia. It was voted the best British film of 1946 at Britain's National Film Awards.
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According to trade papers, the film was a "notable box office attraction" at British cinemas.Murphy, Robert (2003) Realism and Tinsel: Cinema and Society in Britain 1939-48 p.209 According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia. The film earned $1,363,371 in the United States, making it one of the more popular British films ever released there.
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Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48 2003 p209 According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia. Kay Kendall said after the film's release there were "no more bazaars to open, no more premieres, no more autographs." However her career later recovered and she became a major star of British films, before dying of leukaemia in 1959.
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The anonymous reviewer in BoxOffice referred to the film as "A modest science fiction programmer [which] will satisfy the youngsters and the action fans who delight in stories of rocketships to the moon". The magazine gave the film a rating of "fair" on its poor-to-very-good scale. According to Bill Warren, the American science fiction film critic and historian, the Monthly Film Review said the film was a "juvenile piece of hokum" with "only its special effects and weird lunar landscape to recommend it", although Kinematograph Weekly in the UK found more merit, calling 12 to the Moon "Extravagant and intriguing [with a] fascinating subject, sound acting [and] resourceful technical presentation". While modern- day critics have called the film "extremely strange and unpredictable", relatively little appears to have been written about the international status of the astronauts and the bearing it has on the plot.
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The film was popular at the British box office. According to Kinematograph Weekly the 'biggest winners' at the box office in 1945 Britain were The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.
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The film was the third most popular film at the British box office in 1950. According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose. It led to a series of stories about POWs, including Albert R.N. (1953), The Colditz Story (1955), The One That Got Away (1957), The Camp on Blood Island (1958) and Danger Within (1959).
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In 1910, following the production of his final film, The History of a Butterfly: A Romance of Insect Life, announced as the first of an unrealised series of innovative informational films on science and nature subjects, Williamson and his family moved to London, and his premises at Cambridge Grove were sold Charles Urban's Natural Color Kinematograph Company. That year he also patented a projector which inserted title slides into projected films. Williamson briefly returned to production in 1913 with a newsreel service which closed down shortly after the outbreak of World War I. By this time Williamson Kinematographic Company assets included a processing plant in Barnet and a factory in Willesden, where the famous Williamson's 'Topical' cameras along with a variety of other apparatus widely used in the British film industry of the time were manufactured. During the war the company pioneered the development of aerial photography, producing gun-mounted reconnaissance cameras to photograph aerial battles.
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In 1969, Kitching also collaborated with veteran Hungarian-born British animator John Halas, who had given him a pre-war 35mm animation rostrum camera. With this, he produced "The Dream of Arthur Sleap", a cinema commercial for the British Film Institute (BFI),Stills from "The Dream of Arthur Sleap" (Retrieved 20 May 2012) and "Auntie Takes A Trip" for the British Kinematograph, Sound and Television Society (BKSTS). In 1970, he directed and animated "No Arks" for the BFI Production Board,BFI archive entry for "No Arks" (Retrieved 20 May 2012) a film based on a story and cartoons by Abu Abraham (the then political cartoonist of The Observer newspaper), with narration by Vanessa Redgrave.Play "No Arks" on YouTube (Retrieved 20 May 2012) In the same year, he also published "An Animation Primer"—an overview of animation technique, which formed one section of a larger part-work publication "The Craft of Film" from Attic Publishing Ltd.
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Trade papers called the film a "notable box office attraction" in British cinemas in 1950.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48 2003 p213 According to one account it was one of the most popular British films of the year along with The Happiest Days of our Lives, Morning Departure, Odette and The Wooden Horse. According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose.
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According to Kinematograph Weekly the film performed well at the British box office in 1945.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p 208 The 'biggest winner' at the box office in 1945 Britain was The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.
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According to Kinematograph Weekly the film performed well at the British box office in 1945.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p 208 The 'biggest winner' at the box office in 1945 Britain was The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.
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"London Status quo: Production Remains Subject of Optimism And Gloom..." New York Times, 22 October 1950: X5. According to Kinematograph Weekly the 'biggest winners' at the box office in 1950 Britain were The Blue Lamp, The Happiest Days of Your Life, Annie Get Your Gun, The Wooden Horse, Treasure Island and Odette, with "runners up" being Stage Fright, White Heat, They Were Not Divided, Trio, Morning Departure, Destination Moon, Sands of Iwo Jima, Little Women, The Forsythe Saga, Father of the Bride, Neptune's Daughter, The Dancing Years, The Red Light, Rogues of Sherwood Forest, Fancy Pants, Copper Canyon, State Secret, The Cure for Love, My Foolish Heart, Stromboli, Cheaper by the Dozen, Pinky, Three Came Home, Broken Arrow and Black Rose. State Secret was less popular in the US but Fairbanks Jr. said "I thought I did my best work ever; Sidney really kept the pot boiling."Bawden and Miller 2016, p.
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The film was very successful at the box office, being one of the twelve most popular British movies of the year, despite sometimes hostile reviews and earned rentals of $3.5 million worldwide. Kinematograph Weekly listed it as being "in the money" at the British box office in 1958. The novelisation of the script sold over two million copies and has been described as "arguably the most successful piece of merchandise ever licensed by Hammer."Marcus Hearn, The Hammer Vault, Titan Books, 2011 p19 The chairman of the Motion Pictures Producers' Association of Japan, Shiro Kido, who was also the president of Japanese film studio Shochiku, wrote to Columbia Pictures who were distributing the film worldwide to request that the film be banned in the United States as it hurt US-Japanese relationships stating that "It is most unfortunate that a certain country still maintains a hostile feeling toward Japan and cannot forget the nightmare of the Japanese army." and bemoaning the film's advertising.
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The film was one of the most popular British releases of 1946. According to trade papers, the film was a "notable box office attraction" at British cinemas.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p209 Another source says it was the most successful film at the British box office in 1946 after The Wicked Lady, The Bells of St Marys, Piccadilly Incident, The Captive Heart and The Road to Utopia. According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia.
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According to trade papers, the film was a "notable box office attraction" at the British box office in 1946.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p209 Another source says it was the fourth biggest hit at the British box office in 1946 after The Wicked Lady, The Bells of St Marys and Piccadilly Incident. According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia.
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The film was a big hit on release, being the third most popular movie at the British box office in 1948.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48 2003 p210 It led to Michael Denison being voted the 6th most popular British star. According to Kinematograph Weekly the 'biggest winner' at the box office in 1948 Britain was The Best Years of Our Lives with Spring in Park Lane being the best British film and "runners up" being It Always Rains on Sunday, My Brother Jonathan, Road to Rio, Miranda, An Ideal Husband, Naked City, The Red Shoes, Green Dolphin Street, Forever Amber, Life with Father, The Weaker Sex, Oliver Twist, The Fallen Idol and The Winslow Boy. Michael Balcon later claimed the film earned £1,041,000 at the UK box office of which £416,000 went on the entertainment tax, £375,000 went to exhibitors and £57,000 to the distributors, meaning the makers of the film did not recover their costs from the UK release.
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According to Kinematograph Weekly the film performed well at the British box office in 1945.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p 208Harper p.99 The 'biggest winners' at the box office in 1945 Britain were The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.However Gainsborough Studios made no further musicals.
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The exception was Fritz Lang's Metropolis, which received a double première on 10 January 1927: the gala première at the Ufa-Palast am Zoo was attended by President Hindenburg but advertised only by a sign above the entrance reading Welturaufführung (world première), while the smaller première, primarily for the press, took place at the smaller Ufa-Pavillon am Nollendorfplatz (Germany's first purpose-built cinema, dating to 1912), which for the occasion was painted silver and illuminated "gleam[ing] like a beacon into the night", as a contemporary reviewer put it, and had a gong mounted over the main entrance; the film's brief German run continued there.Aitam Bar-Sagi, "'Metropolis' around the World", The Film Music Museum, 6 November 2010, retrieved 23 December 2012.Ward, pp. 166-67, Figure 40 p. 168.Review in Der Kinematograph, 16 January 1927, in translation in: Michael Minden and Holger Bachmann (eds.), Fritz Lang's Metropolis: Cinematic Visions of Technology and Fear, Studies in German literature, linguistics, and culture, Rochester, New York: Camden House, 2000, , pp. 82-83.
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Perfect Strangers was a commercial success in both the UK and the US, where it was re-titled Vacation from Marriage. It was one of the biggest hits at the British box office in 1945.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48, p 207 According to Kinematograph Weekly the 'biggest winners' at the box office in 1945 Britain were The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.
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Burlingham's wife Léontine and their guide during ascent of Mont Blanc, 1913 Burlingham left Paris near the end of 1912 and returned to London, where he was soon hired by the British and Colonial Kinematograph Company. In 1913 the company assigned him to travel to Switzerland to film ski-jumping, curling, sleighing, and other Alpine winter sports around St. Moritz. Equipped with a bulky hand-cranked movie camera, a half-plate still camera, and a set of tripods, he also recorded his trek at higher elevations through deep snow at the Bernina Path, as well as ascents of the Matterhorn, Mont Blanc, and the Jungfrau. He continued from those sites to southern Italy, capturing additional scenic footage as he traveled to Mount Vesuvius. There he filmed on December 21, 1913 a deep descent into the volcano's interior. Burlingham and his three Italian assistants were nearly asphyxiated by sulphuric fumes as they used ropes to lower themselves down over 1200 feet "to the bottom of the cone"."Down Into Crater of Vesuvius" Reel Life (New York, N.Y.), January 24, 1914, p. 8. Internet Archive. Retrieved May 10, 2020.
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According to trade papers, the film was a "notable box office attraction" at British cinemas.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48 2003 p209, via Google Books According to one report, it was the 17th most popular film at the British box office in 1946 after The Wicked Lady, The Bells of St. Mary's, Piccadilly Incident, The Captive Heart, Road to Utopia, Caravan, Anchors Away, The Corn is Green, Gilda, The House on 92nd Street, The Overlanders, Appointment with Crime, The Bandit of Sherwood Forest, Kitty, Spellbound, and Scarlet Street. According to Kinematograph Weekly the 'biggest winner' at the box office in 1946 Britain was The Wicked Lady, with "runners up" being The Bells of St Marys, Piccadilly Incident, The Road to Utopia, Tomorrow is Forever, Brief Encounter, Wonder Man, Anchors Away, Kitty, The Captive Heart, The Corn is Green, Spanish Main, Leave Her to Heaven, Gilda, Caravan, Mildred Pierce, Blue Dahlia, Years Between, O.S.S., Spellbound, Courage of Lassie, My Reputation, London Town, Caesar and Cleopatra, Meet the Navy, Men of Two Worlds, Theirs is the Glory, The Overlanders, and Bedelia. However it is unlikely the film recouped its enormous cost.
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The film being shown at a theater in Surrey, England The film was very popular at the British box office, being one of the biggest hits of the year.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48, p 207Gaumont-British Picture: Increased Net Profit, The Observer, 4 November 1945 According to Kinematograph Weekly the 'biggest winners' at the box office in 1945 Britain were The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V.
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The movie was very popular at the British box office, being one of the most seen films of its year.Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48, p 207 In 1946 readers of the Daily Mail voted the film their third most popular British movie from 1939 to 1945. According to Kinematograph Weekly the 'biggest winners' at the box office in 1945 Britain were The Seventh Veil, with "runners up" being (in release order), Madonna of the Seven Moons, Old Acquaintance, Frenchman's Creek, Mrs Parkington, Arsenic and Old Lace, Meet Me in St Louis, A Song to Remember, Since You Went Away, Here Come the Waves, Tonight and Every Night, Hollywood Canteen, They Were Sisters, The Princess and the Pirate, The Adventures of Susan, National Velvet, Mrs Skefflington, I Live in Grosvenor Square, Nob Hill, Perfect Strangers, Valley of Decision, Conflict and Duffy's Tavern. British "runners up" were They Were Sisters, I Live in Grosvenor Square, Perfect Strangers, Madonna of the Seven Moons, Waterloo Road, Blithe Spirit, The Way to the Stars, I'll Be Your Sweetheart, Dead of Night, Waltz Time and Henry V. It was the only British film among the ten most popular films of 1946 in Australia.
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