Today the conflict in critical opinion over controversial films often seems more pronounced when it comes to the kind of film that is most likely to engage the interest of Catholics. Never has it been more important that the intelligent Catholic should make up his own mind over a difficult picture than in the present state of the cinema; and by and large there is not, in this country, a great deal that will help him enlarge his cinematic critical apparatus. In France, Belgium or Italy the highbrow Catholic is not ashamed to admit to enthusiasm for the cinema: in England one only too often finds him saying that he cannot be bothered with films. This puts us at a considerable disadvantage when it comes to international gatherings concerned with any form of mass media and, worse still, at a visible loss when it comes to discussion with alert non-Catholic cinema-goers in this country about any particular film on which we should certainly have clear views one way or another.

The eighth London Film Festival held last autumn provided a pertinent case in point. Owing to the massive rebuilding that is still taking place on the South Bank, the films this year were shown in the West End; in consequence a much larger proportion of the general public (as opposed to members of the British Film Institute) came to the performances. Three of the films shown were OCIC (Office Catholique Internationale du Cin?ma) prize winners – one of them the Grand Prix for 1964 – and several others were of lively interest to Catholic audiences.