Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-fbnjt Total loading time: 0 Render date: 2024-11-07T16:31:07.269Z Has data issue: false hasContentIssue false

13 - Backing British

Published online by Cambridge University Press:  18 November 2022

James Chapman
Affiliation:
University of Leicester
Get access

Summary

We were on the edge of establishing a commercially viable British film industry, but that objective has slipped out of our reach. Unless action is taken quickly, native British production will virtually disappear. (David Kingsley)

The increasing American presence in the British production sector and the decline of wholly British-financed production had far-reaching consequences for the film industry. It is a moot point, perhaps, whether there ever really was the ‘commercially viable British film industry’ that David Kingsley thought was about to emerge in the early 1960s or whether this was just a chimera. The success of British-financed films such as I’m All Right, Jack, Carry On Nurse and Saturday Night and Sunday Morning – all listed as major profit-makers by the National Film Finance Corporation at the turn of the decade – disguised the fact that most British films lost money. As the NFFC noted in its annual report for 1962: ‘The Corporation's profit for the year does not mean that British films are generally profitable, even with the aid of the levy. A few very successful films attract an exceptional amount of levy but many others saw a substantial loss.’ And British independent producers continued to experience difficulty in securing distribution guarantees – and therefore finance – for their films. Hal Chester, producer of the popular comedy School for Scoundrels (1960), for example, told the Kine: ‘You know how many times School for Scoundrels was turned down? Four times, that's how many. It took years to get that property off the ground.’

The decline of cinema admissions and the consequent contraction of the exhibition sector inevitably impacted upon the industry. The casualties in the early 1960s tended to be producers and distributors of supporting features, a mode of low-budget film-making that had now become an uneconomic anachronism. In January 1961, for example, Sapphire Films, which had produced The Adventures of Robin Hood and other telefilm series in the 1950s, went into receivership, and Walton Studios closed. Sapphire's Hannah Weinstein had ventured into low-budget feature production with the horror film City of the Dead (1960) in association with Max Rosenberg: it was a cheap affair (£44,965) but returned a distributor's gross of only £30,027.

Type
Chapter
Information
The Money Behind the Screen
A History of British Film Finance, 1945-1985
, pp. 214 - 227
Publisher: Edinburgh University Press
Print publication year: 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×