Cinema Art Films - foreign silent films downunder
Cinema Art Films - Posters | Die Grosse Wette 1916 | Metropolis Film Archive | Pandora's Box 1929 | Royal Commission 1927 | Variety 1925  |
| Cinema Art Films logo from header to the New Zealand 1st generation print of Metropolis (released 1928). |
Cinema Art Films Ltd. operated in Australia and New Zealand between 1926-30 and briefly in 1939 as a distributor of silent and sound foreign films. Primarily linked to the German studio UFA, Cinema Art Films was also associated with British International Pictures (BIP) and movies such as Alfred Hitchcock's The Ring (1927) and Blackmail (1930). It also presented films from India. Prior to 1927 some German films such as the UFA Emil Jennings vehicle The Last Laugh (1924) were released by Australasian Films Limited and Australasian Films (N.Z.) Ltd., under the banner 'A Master Picture'. This latter reference can be seen in the poster below.
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| The Last Laugh, UFA and Australasian Films, 1924, long daybill, 15 x 40 inches. |
Cinema Art Films consolidated UFA releases upon its formation late in 1926. During its brief period of activity in the silent era, prior to the general introduction of sound film in Australia during 1930, Cinema Art Films was responsible for the Australian and New Zealand release of noted German, Scandinavian and French films such as Variety (1927), Metropolis (1927), Faust (1928) and Moulin Rouge (1928). Approximately 100 films have been identified to date as released by the company between 1927-30 and during 1939, based on information contained within the CAARP database (2014) and other sources such as the National Film and Sound Archive, Canberra, newspapers reports, and poster vendors including the Josef Lebovic Gallery in Sydney and the international emovieposters.com website.
Promotional materials
Promotional was a vital element of any film release program from the earliest years of cinema in the late 1890s. This usually consisted of advertisements in national and local newspapers, posters promoting forthcoming releases, and leaflets or pamphlets produced by distribution companies and individual cinemas or travelling 'Picture Show' operators. Press sheets were also common and may have included text such as descriptions of the films and generic reviews, along with illustrations of posters available for purchase or rent, and black and white art which could illustrate newspapers advertisments. Some of the latter are included below, in lieu of surviving posters. The National Film and Sound Archive (NFSA) in 2019 devoted a webpage to Cinema Art Posters, and links are included below to items from that site.
These historical resources reveal that, following a Cinema Art Films' premiere in Sydney, Melbourne or a separate capital city or regional centre such as Bathurst, either as a feature or support, the films were toured throughout Australia, whilst New Zealand had a separate release program, often using separate prints. In some instances the New Zealand release predated the Australian release. The most famous of the Cinema Art Film releases was Fritz Lang's Metropolis (1927). One of the two known long daybill posters from the Australian release in 1928 sold at auction in the United States during 2017 for a record US$215,100.
Within the chronological listing below each film is described briefly in the following form, where information is known, based on information cleaned from newspaper advertisements:
Title / Year of production / Director / Actors / Production Studio / Sydney premiere date / City theatre release / Feature (F) or Support (S) / Weeks running / Additional notes.
Dates are given for both the original production and release of the film in its home country, and the subsequent release in Australia and New Zealand. Additional descriptions of the related movie posters - if they survive - are also provided. Typically, a long daybill poster - size 15 x 40 inches (36 x 100 cm), or a slight variant thereof - was printed in Sydney to promote the film. This usually included the Cinema Art Films distinctive logo, as illustrated below and in the leader above, or the text Cinema Art Films Presents.....
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| Cinema Art Films logo (above) from the Variety Australian daybill, 1927 (illustrated below). |
The posters were a mixture of multicoloured stone lithographs (e.g. Lure of the Wild 1927), or simply two colour printings (e.g. Variety 1927) by firms such as Richardson Studios and Marchant & Co., Sydney. Cinema Art Films also issued booklets and leaflets promoting their releases, alongside normal newspaper advertisements and special event screenings for local distributors. Just 20 original Cinema Art Films posters are known to this author to have survived, of the more than 100 releases so far identified. All are reproduced below where possible. Additional items most likely exist in private collections and institutions such as Australia's National Film and Sound Archive, Canberra.
The 1920s was a period of intense cinema-going activity by the Australian public, with large numbers of attendees throughout the decade and prior to the introduction of sound in 1930. In fact, Australia had the highest per capita cinema going public in the Western world during the latter part of the decade. The Cinema Art Films catalogue undoubtedly added variety to the increasing dominance of Hollywood films, alongside the ever-struggling local film production industry. Audiences who attended movies such as Faust and Metropolis could not fail to be amazed by the quality of the productions then coming out of Europe, and especially Germany. Cinema Art Films was able to tap into this market at a time when it was at its peak in terms of quality productions, through the work of directors such as Fritz Lang, F.W. Murnau and Ernst Lubitsch. Newspaper advertisements and reviews of many of the Cinema Art Films speak in glowing terms of their quality. Further research into the length of their runs may point to their popularity or otherwise. A number of printed reports of the company's operations are included below, interspersed with information on the posters and providing context therein to the release program.
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1926
* 27 November 1926, The Sun, Sydney:
MOVIE MEN BACK
Having secured the Australian rights of Ufa films, Messrs. P. Hoskins and L. J. Keast, of Cinema Art Films.' Ltd. returned from America by the Tahiti to-day. They broqght with them a film "The Woman Tempted," from a novel by the Countess of Cathcart.
* 29 November 1926, Sydney Morning Herald:
FILMS FROM ABROAD. DIRECTORS' PURCHASES
Messrs. L. P. Hoskins and L. J. Keast, directors of the Cinema Art Films, Ltd., arrived in Sydney by the Tahiti today. They have been touring Europe and America to secure films for distributing on the Australian film market. Mr. Keast said they had secured, among other films, "The Woman Tempted," by the Countess Cathcart. On the whole he found British films were too costly to compete successfully with those of other countries. Mr. Keast said they had secured several films, including "Tartuffe" and "Faust" from the big German combine "UFA" whose headquarters are at Berlin.
* 18 December 1926, Daily Commercial and Shipping List / Sydney Morning Herald / Daily Telegraph, Sydney:
New Companies
Cinema Art Films, Limited. - Capital, £60,000 in £1 shares. Directors: Leslie P. Hoskins, Edgar
J. Hoskins, and Leslie J. Keast. Registered Sydney, 16/12/26. Objects: To carry on in all its branches the business of manufacturers and distributors of, and dealers in, all types of cinematograph film, also the business of proprietors of theatres and halls; to hire photographic apparatus. Registered office: 198 Pitt Street, Sydney. Telephone: MA2233.
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1927
1. The Fate of a Flirt / Forrest Stanley and Dorothy Revier / 24 February 1927 / Star Pictures, Queanbeyan-Canberra and Burlington Theatre, Bathurs. Full colour, stone lithograph poster known - NFSA Collection.
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| The Fate of Flirt, 1927. Collection: NFSA. |
2. My Lady of Whims / Clara Bow / 27 March 1927 / Hoyts, Sydney and Burlington Theatre, Bathurst.
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| Advertisement for My Lady of Whims, Truth, Sydney, 27 March 1927. |
3. Jealousy / Eiffersucht 1925 / Karl Grune / Lya De Putti, Werner Kraus / Universum Film (UFA) / 11 April 1927 / Theatre Orange, and Hoyts de Luxe, Sydney / F 1. German.
* 19 April 1927, National Advocate, Bathurst:
Pictures and Personalities
Coming shortly to the Burlington, direct from Cinema Art Films, the famous Music Master productions. These comprise a series of two reel films made from incidents in the lives of great musicians, and accompanied by their own musicai compositions. The first of these to be shown here, embracing the life of Felix Mendelssohn, is said to be wholly delightful.
4. Lure of the Wild 1925 / Frank R. Strayer / Jane Novak, Alan Roscoe, Lightning the Wonder Dog / Columbia Pictures / 21 April 1927 / Picadilly, Sydney. American. Full colour, stone lithograph poster known. Text on lower border: 'Marchant & Co. Ltd, Printers, Sydney. Released through Asia by Cinema Art Films Ltd. 198 Pitt Street Sydney. Released throughout N.Z. by Exhibitors Alliance Films (NZ) Ltd. Wellington.'
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| Lure of the Wild, stone lithograph, long daybill, 14 x 39 inches. |
5. The Golden Road to Strength and Beauty 1927 / Universum Film (UFA) / 7 May 1927 / Adyar Hall / F 14 . German.
* 20 May 1927, Evening News, Sydney: Photograph of a scene from Cinema Art Films Waltz Dream, which will be reproduced at this year's Movie Ball.
* 25 May 1927, Sydney Morning Herald:
Farewell Party
Mrs. Doak Rice, who will leave for Queensland shortly, was entertained at a party given by Mrs. L. Hepburn and Miss G. |
Hoskins In the private theatre of Cinema Art Films, Ltd., Pitt-street, yesterday afternoon. The guest of honour was presented with a
bouquet of violets and radiance roses swathed in pale blue tulle. Films from the Music Master series, not yet released in Sydney, including the story of the "Waltz Dream" (Strauss), and extracts from the lives of Mendelssohn and Stepben C. Foster, were screened.
Afternoon tea was served at tables on the roof garden, decorated with roses, violets, and fern, with a posy placed for each guest.
Among those present were Mesdames G. Hoskins, Harold Hoskins. H. Dixon Arnott, Kenneth Hungerford, Laurie Seaman, Fred. Catterall, Phillips, Warwick Lloyd, J. W. Beeman. Sedgwick, Courte, Hearne, J. W. Cameron, Moon, Starr, L. Kienst, Gerald Rowley, the Misses Murdock, Jessie Locke, Salmon, Beeman (2), Hearne, L. Cowley, and Cusack.
6. The Desert's Toll / 30 May 1927 / Burlington Theatre, Bathurst.
7. Mendellson / Music Masters series / 1 June 1927 / Burlington Theatre, Bathurst.
8. Money Talks / 1 June 1927 / Burlington Theatre, Bathurst.
9. Love is Blind / 8 June 1927 / Theatre Orange. Starring Lil Dagover and George Alexander.
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| Leader, Orange, 8 June 1927. |
* 17 June, Collie Mail, Perth:
AMUSU ATTRACTIONS. ADDITIONAL RELEASES SECURED.
Motion picture patrons of Collie should read with interest of the latest powerful realises secured by the proprietors of the Amusu Theatre. As the Collie public know, up to the present time regular screenings of releases by this theatre comprise Paramount, Metro-Goldwyn-Mayer, Selznick, Mutual and J. C. Williamson Films, and Australian masterpieces as they become available. In addition to the above they have been successful in securing the whole production of Cinema Art Films These releases are the last word in up-to-date Continental film fare, comprising, as they do, the cream of European productions, and are without doubt the only serious rival of the American Film Corporations. Included in these releases are a number of what are termed music masterpieces, and they should prove additional interest to the musically inclined section of the public. They are short subjects depicting the lives of the following famous composers:— Beethoven, Foster, Mendelssohn, Liszt, Chopin, Handel, Wagner, Mozart, Verdi, Haydn, McDowell and Balfe, Each picture is accompanied with complete musical score appertaining to the' particular composer and is so timed as to perfectly synchronise with the picture. These releases also include - such magnificent productions as "Faust,' "Variety," "The Waltz Dream," "Blue Danube" and "Metropolis," and are bringing forth such storms of applause from even the most moribund of England and the United States that any exhibitor who is so fortunate as to secure them is indeed to be congratulated. Among the artists contracted by U.F.A. Corporation are such celebrated persons as Millie Augovin, whose fame on the European stage rivals that of Sarah Bernhart. Included also are Lya De Putti and Elaine Hammerstein. A cursory glimpse of the birth certificates of the personnel of this company discloses that its talent, both instructional and technical, are drawn from all quarters of the globe, including England, Germany, America, France, Hungary, Austria and Russia, and one supposes if the search were pursued to the bitter end Australia would most probably be there. Its studios at Babelsberg are daily expanding, and now are recognised as the biggest equipped and the richest in natural resources of any studio in the world. Immense skyscrapers rear themselves skywards and dominate the landscape for miles around. The gloomy historical and picturesque castle and Church of Grershume stands in the middle of the lot. These ancient edifices were originally ten miles from the studios, but so far and so wide have the ramifications of the company extended that the studio premises now extend ten miles the other side of the old castle grounds, which means that the lot is twenty miles across by approximate the same distance the other way — an area of 400 square miles.
10. The Substitute / Jane Novak / 23 June 1927 / Hoyts, Sydney and Burlington Theatre, Bathurst.
11. Beethoven / Music Masters series / 25 June 1927 / Burlington Theatre, Bathurst.
12. Variety, aka Vaudeville 1925 / E. A. Dupont / Emil Jannings, Lya De Putti / Universum Film (UFA) / 02 July 1927 / Piccadilly / F 1 5. German. Full page story in Sunday Times, Sydney, 10 July 1927. Two colour, stone lithograph poster known - author's collection.
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| Evening News, Sydney, 30 June 1927. |
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| Variety, long daybill, 14 x 39 inches, 1927. Private collection. |
13. Stephen Foster / Music Master series / 2 July 1927.
14. Franz Liszt / Music Master series / 2 July 1927 / Burlington Theatre, Bathurst.
* Call, Perth, 8 July 1927:
U.F.A. FILMS - A PROGRESSIVE NEW COMPANY.
Cinema Art Films Ltd., a young but progressive company recently formed to handle "UFA" films in Australia announced from Sydney their complete satisfaction of their progress thus far. They have, upon the world wide fame of UFA films, created a large following among the ranks of Australian motion picture exhibitors which their first extended season attraction "Variety" which opened at the Piccadilly Theatre on July 2nd has raised Sydney picture goers to the heights of enthusiasm. Already early releases have been arranged for the bulk of their product. Interviewed, officials of the company stated that the entire UFA product is NOT TO BE "DUMPED" on the Australian market but only those especially applicable to Australian tastes will be screened. Already branches of this enterprising firm have been established in Melbourne, and throughout New Zealand, while the whole organisation is rapidly striding towards a prominent place in the film distributing corporations in Australia. It should not be long before a branch is opened in Perth.
* Sunday Times, Sydney, 10 July 1927:
BIG MOVE IN PICTURE INDUSTRY / NEW COMPANY FORMED.
Cinema Art Films. Cinema Art Films, Ltd„ although a comparatively new concern, has already gained prominence with Australian picture goers through its, so far, not very extensive release schedule. Its latent and greatest release is 'Variety,' now showing at the Piccadilly Theatre, Sydney, for an extended season. This picture features Emil Jennings and Lya de Putti — the former being acclaimed 'the world's greatest living male actor,' while the subtle, uncanny charm, beauty, and appeal of the latter have made her the toast of all Europe and America. In future store there lies a film which is undoubtedly the greatest venture ever undertaken in motion picture history.
METROPOLIS
This film, which is entitled 'Metropolis,' is an immense, imaginative spectacle, which deals with a city two thousands years hence. It is, says Arnold Bennett, 'Frankenstein,' 'Caesar's Column,' and 'Looking Backwards' in one. It was directed by Fritz Lang, the famous Ufa director, who specialises in this typo of advanced treatment and photography, and written by his famous wife, Thea von Harbou. A most powerful story runs through this spectacle- in 'Metropolis' itself are two cities — the Upper City, on the ground level, in which dwell the wealthy classes, and the Lower City, where the workers reside. Its main theme is that the standardising efficiency of our age, stressing material advancement rather than spiritual progress, carries the seeds of its own destruction in its metallic bosom. THE MASTER. 'Metropolis' teems with mechanical marvels, and is owned by one callous super-efficient master. Soulless pinnacle of a bloodless age, he has reduced life to a deadly uniformity for- his myriads of grubbing workers, who live like moles' underground, while the elect, few on the upper stratas feast rabidly on the fleshpots. Masterman's, as this autocrat is aptly termed, one spot is his affection for his son, who falls in love with a spiritual girl of the working classes, beloved by the sweating, dreary laborers. Because she inspires his son to espouse the common cause — not revolution, but a slight betterment of conditions, and a freedom, from slavery, and .because the workers are muttering ominously. NOT REVOLUTIONARY. Masterman has her hidden away while her image is reproduced by an inventor in a mischievous, heartless, mechanical girl, after the type of the Robot, responsive to Masterman's bidding, who cows to throngs' who, thinking her to be a heroine, worship her. But this Frankenstein monster, true to her type, works for her creators, and, under the banal exhortation, the rebellion flumes up, and the workmen nearly wreck Metropolis. The picture, however, as previously pointed out, is not revolutionary, as it winds up with Capital and Labor shaking hands, with a happy ending for the two lovers, although a tragic one seemed inevitable.
FAUST
Another mighty Ufa film to 'be released in Australia by Cinema Art Films is 'Faust,' This story is too well known to need repetition here ; let it suffice that F. W. Murnau, tho famous director, has taken the immortal Goethe's drama, has woven into it the operatic versions of Marlowe and Gounod, and produced one of the most magnificent pieces of imagery ever turned out by the Ufa studios. Emil Jennings makes a superb Mephisto — Gosta Ekman an ideal Faust, while Camilla Horn is exquisite as Marguerite. It is useless to attempt to describe the artistry, the spell-binding breathlessness, the immensity of these Continental pictures.
THE WALTZ DREAM.
'The Waltz Dream'' is another big 'Ufa attraction for Australian release. For sheer, unalloyed beauty never has never been nor will there be a picture to equal this one. The scenes are laid in that gayest of gay cities, Vienna, in which the film was actually taken. It features three stars who are certain to become immensely popular in Australia — Willy Fritsch, judged the handsomest and most pleasing male actor on the Continent ; Mady Christians, a winning Viennese beauty, who has achieved fame in both America and the Continent; and Xenia Desni, a beautiful Hungarian blonde. This picture achieved over whelming success the world over. It moves briskly through a kaleidoscopic maze of delightful situations to a smashing climax. It is the most delightful comedy-drama ever seen outside the Continent.
THE FORERUNNERS.
These are but four of the pictures to 'be released by Cinema Art Films, and when having viewed these, one realises that they are but the forerunners of a regular supply, and once more entertains rosy hoped for the future of an industry whose product had become rather mediocre, due, undoubtedly, to the monopoly held by one country, but now this Continental company have challenged this country, which by the way of the Press, have admitted the equality, and in most cases tho superiority, of their product— praise from competitors is praise indeed. Long may these pictures continue to confound the critics with their ever increasing excellence! Cinema Art Films, Ltd., are to be congratulated.
* 21 July 1927, Mercury, Hobart: Empire Films. Report on Royal Commission into the local film industry.
EMPIRE FILMS FIRM'S' RELEASES FOR 1927-28.
NEARLY 50 PER CENT. BRITISH.
Sydney, July 20. Emphasising that it was the desire of his firm to further the Empire film trade and to purchase or handle Australian made films for any company that could "produce the goods," Mr. Leslie John Keast, general manager of Cinema Art Films Ltd., gave evidence before the Commonwealth Film Commission to-day. Witness mentioned that his company was not a dumping ground for a large Continental manufacturing concern, but was taking only their own selection of the output of that concern - subjects which they believed would elevate the industry and encourage the desire for films of an artistic nature. While, of course, due regard would be given to popular pictures, their contracts with the U.F.A. Company in no way restricted their activities in furthering the release of British films. As a matter of fact nearly 60 per cent of their releases for the season 1927-28 would be British films, the balance being made up of Continental and America subjects. They had entered into a long and satisfactory contract with Stolls, probably one of the biggest and most successful of British film manufacturers, and had made several purchases of outstanding productions from Gaumont. His company did not anticipate any difficulty in marketing their products. In reply to tho chairman (Mr. W. M. Marks, M.P.), witness said that he was opposed to the suggested quota system. It would assist his company to no extent. The danger of the system was that it might lead to an influx of a poorer class of British film. Pictures, he maintained, should be treated on their merits.
* Brisbane Courier, 27 July 1927:
FILM MERGER / COMPANIES UNITE
Sydney, July 25. It was announced to-day that a merger of interests for the Australian and New Zealand market had been completed, between Cinema Art Films Ltd., an Australian organisation, with headquarters at Sydney, the Exhibitors' Alliance Films (New Zealand) Ltd., and the Universal Films Association [UFA]. In effecting the merger, it was stated, the principals were influenced by the considerations that the film producers of America and the United 'Kingdom were prepared to negotiate for film rights, treating Australia and New Zealand as one market, on more favourable terms than if the two centres were treated as separate markets, and that the merger would effect a saving of overhead charges. The new organisation will be known as Cinema Art Films (Australia and New Zealand) Ltd., and it has acquired the sole distributing rights in Australia and New Zealand of the Universal Films Association. Specialisation in English and Continental productions will be one of the most important features of the new organisation. Eleven outstanding English productions are in hand already, and an arrangement has been entered into with the largest British producers whereby they will submit their entire output to the new company, in order that a choice might be made of those more suited to the requirements of the Commonwealth and the Dominion. It is stressed that the new organisation represents Australian and New Zealand capital, and affords a local channel of distribution for local productions. The Universal Films Association has agreed to maintain in Australia and New Zealand one of their experts to assist in the marketing of their films. The directors of the new organisation are Messrs H. P. Hoskins. E. J. Hoskins, W. F. Gale, until recently manager of the New South Wales Government Savings Bank, A. C. Davie, formerly managing director of Exhibitors' Alliance Films (XX.), Ltd.. and A. J. Clegg, formerly a director of the same company. It is stated that another important merger of interests in furtherance of the present one is likely.
15. False Shame / Faische Scham - Vier Episoden aus dem Leben eines Arztes 1926 / Rudolph Biebrach / Universum Film (UFA) / 26 September 1927 / Adyar Hall F 24. Ad. 'Made at the request of a government for the betterment of the world'. German.
* Table Talk, 29 September 1927:
CINEMA ART FILMS
A recent addition to the motion picture exchanges of Melbourne is Cinema Art Films, at Bourke House, under the management of Mr. S.W. Perry, recently of Mutual Exchange, but with a long record of activity in the picture world as exhibitor and manager. Cinema Art Films, the headquarters of which are in Sydney, is intended to handle special Continental films and British productions. One of the former is "Variety," just now being shown at the Auditorium. Among others coming will be "Jealousy," featuring Werner Krauss and Lya de Putti, "The Waltz Dream" (from the well-known opera), with Mady Christians, a Viennese artist. Willy Fritsch and Xenia Vaydon in lending roles; "Love is Blind," in which Lil Dagover, George Alexander, and Lilian Hall-Davis appear, and "Metropolis," one of the big releases for 1928.
16. The Last Laugh / Der Letzte Mann 1924 / F W Murnau / Emil Jannings, Maly Delschaft, Max Hiller / Universum Film (UFA) / 12 November 1927 / Piccadilly / S 1. Feature: Howard Hawks The Cradle Snatchers. Sydney Morning Herald 'film critic' notes 'there is a good supporting program'. German. Re-released in Australia.
17. Waltz Dream / Ein Walzertraum 1925 / Ludwig Berger / Willy Fritsch / Universum Film (UFA) / 10.12.1927 / Hoyts de Luxe, Strand / F 1. Triple Bill: Waltz Dream + 2 Westerns. German.
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1928
18. Flower of the Forest / Die Forsterchristel / The Bohemian Dancer 1926 / Frederic Zelnik / Lya Mala, Harry Leidtke, William Dieterle / Zelnik-Film / 7 January 1928 / Rialto / S 4 1. 10000 feet. German.
19. Impetuous Youth / Der Geiger von Florenz / The Fiddler of Florence 1926 / Paul Czinner / Elizabeth Bergner, Conrad Veidt / E Bergner Poetic Film, UFA / 25 February 1928 / Rialto / F 4 1. 6500 feet. German.
20. The Squire of Long Hadley 1925 / Dir: Sinclair Hill / Marjorie Hume and Brian Aherne / A Stoll Production / Artwork by Bernie Bragg / 24 March 1928 / Lyceum, Brisbane. Full colour, stone lithograph poster known - NFSA Collection. Artwork by Bernie Bragg.
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| The Squire of Long Hadley, 1928. Artist: Billy Bragg. Collection: NFSA. |
21. The Grand Duke's Finances / Die Finanzen des Groáherzogs 1924 / F.W. Murnau / Alfred Abel, Mady Christians / UFA / 24 March 1928 / Rialto / F 8 1. German. Full colour, stone lithograph poster known - NFSA Collection. Poster signed in image lower right, 100.7 x 38.1cm. Text continues "An intriguing adventurous romance of a tiny kingdom. Cinema Art Films present… with an all star cast. Released throughout Australia and New Zealand by Cinema Art Films (Aust., & NZ) Ltd. Marchant & Co. Ltd, Printers, Sydney." The original title of this silent German comedy was Die Finanzen des Grossherzogs. Directed by F.W. Murnau. Ref: IMDB.
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| The Grand Duke's Finances 1924. Colour process lithograph. Source: Josef Lebovic Gallery and NFSA. |
22. Adventure Mad / Die drei Kuckucksuhren 1926 / Lothar Mendes / Nils Asther, Lillian Hall- Davis / UFA / 31 March 1928 / Rialto / S 7 1. German.
23. Metropolis 1927 / Fritz Lang / Alfred Abel, Gustav Frolhich, Rudolf Klein-Rogge, Brigitte Helm / UFA / 14 April 1928 / Regent / F 1 5. German. Double billed with The Circus. Ad: 'The most stupendous programme in the history of any theatre in Australia'. Metropolis listed by Film Weekly as 12000 feet. Two full colour, stone lithograph posters known - Private collection. Artwork by Bernie Bragg. These posters came to light during 2016 and were sold the following year at auction in the United States for record prices.
24. Forbidden Fruit / Forbidden Paradise 1924 / Ernst Lubitsch / Ossi Oswalda / UFA / 28 April 1928 / Rialto / F 7 1. German.
25. Raja Ne Gami Te Rani / Love is Blind 1926 / Kanijibhai Rathod / Willian Hall Davis / India / 5 May 1928 / Rialto / F 6 1.
26. Die Czardasfrstin / The Gypsy Princess 1927 Hans Schwartz / Liane Haid, Oscar Marion / UFA / 12 May 1928 / Rialto / F 6 1. German.
27. Grock, The World's Greatest Clown, in What For? 1927 / Aik-Enders / 26 May 1928 / Rialto / F 6 1. Full colour, stone lithograph poster known - NFSA Collection. Text continues "Cinema Art Films present Grock, the World's Greatest Clown. His first appearance on the screen. Delightful foolery with exquisite pathos. Released throughout Asia by Cinema Art Films Ltd, 198 Pitt St, Sydney. Released throughout NZ by Exhibitors Alliance Films (NZ) Ltd, Wellington. Marchant & Co Ltd Printers, Sydney." Grock was a famous Swiss clown created and performed by Charles Adrien Wettach (1880-1959).
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| Grock .... What For? 1928. Colour process lithograph, signed in image lower right. Source: Josef Lebovic Gallery and NFSA Collection. |
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The Primrose Path 1925. Colour process lithograph. Source: Josef Lebovic Gallery and
NFSA. |
31. Peaks of Destiny / Der heilige Berg / The Holy Mountain 1926 / Arnold Fanck / Leni Riefenstahl, Luis Tenker, Ernst Peterson / Berg -Sportfilm / 30 June 1928 / Piccadilly / F 4 3. Support: The Circus (2nd release). Full colour, stone lithograph poster known - NFSA Collection.
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| Peaks of Destiny, 1928. NFSA Collection. |
33. Hindle Wakes / 4 August 1928.
34. Master of the World / Der Meister der Welt 1927 / Gennaro Righelli / Xenia Desni, Fred Solm / Greenbaum-Film / 5 August 1928 / Rialto / F 7 1.
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Crazy Mazie 1927. Colour process lithograph. Source: Josef Lebovic Gallery an NFSA. |
44. The White Hell of Pitz Palu / 8 December 1928.
45. Spuds [Spies?] / 10 December 1928.
46. The Wicked Kashmir / 15 December 1928.
47. The Rose of Kildare / 22 December 1928.
48. The Ring 1927 / Alfred Hitchcock / Carl Brisson, Lillian Hall-Davis, Ian Hunter / BIP (British International Pictures) / 05.01.1929 / Lyric / S 3 1.
49. Play Safe 1929 / Monty Banks. Two colour, stone lithograph poster known - NFSA Collection.
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| Play Safe, 1929. Collection: NFSA. |
51. The Girl from Rio / 19.1.1929.
52. Moulin Rouge 1928 / E A Dupont / Olga Tschechowa / BIP / 19.01.1929 / Capitol / S 3 1.
53. When Duty Calls / Der Mann im Feuer 1926 / Erich Waschneck / Henry Stuart, Helga Thomas, Olga Tschechowa / UFA / 26.01.1929 / Haymarket / S 5 1. Full colour, stone lithograph poster known - NFSA Collection.
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| When Duty Calls, 1929. Collection: NFSA. |
55. When Duty Calls / 2.2.1929.
56. The White Shiek / 9.2.1929.
57. Tommy Atkins / 23.2.1929.
58. Sparkling Youth / 23.2.1929.
59. Champagne 1928 / Alfred Hitchcock / Betty Balfour, Gordon Harker / BIP / 16.03.1929 / Haymarket / S 3 1.
60. The Silver Lining / 23.3.1929.
61. Paradise / 30.3.1929. Full colour, stone lithograph poster known - NFSA Collection.
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| Paradise, 1929, stone lithograph, Simmons Co., Sydney. Collection: NFSA. |
63. Show Life / 20.4.1929.
64. Toni / 22.4.1929. Full colour, stone lithograph poster known - NFSA Collection.
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| Toni, 1929. Collection: NFSA. |
66. Weekend Comedy / 18.5.1929.
67. Wolves of the Underworld / Das Panzergewalbe 1926 / Lupu Pick / Ernst Reichter, Imogene Robertson / UFA / 26.05.1929 / Empress / F 5 1.
68. Kitty / 1.6.1929.
69. The Farmer's Wife / 15.6.1929.
70. Widicombe Fair / 22.6.1929.
71. The Lily of Killarney / 20.7.1929.
72. Emerald of the East / 22.7.1929.
73. The Whirl of Life / 10.8.1929.
74. Picadilly / 17.8.1929.
75. Adam's Apple / 31.8.1929.
76. The Manxman 1929 / Alfred Hitchcock / Carl Brisson, Anny Ondra / BIP / 09.09.1929 / Crystal Palace / S 3 1.
77. High Seas / 12.10.1929.
78. Cocktails / 26.10.1929.
79. The Vagabond Queen / 9.11.1929.
80. Though Shalt Not Steal 1928 / Lilian Harvey / November 1929. Full colour, stone lithograph poster known - NFSA Collection. Poster text continues "Cinema Art Films present Lilian Harvey… She planned to steal his jewels; he planned to steal her love. This poster produced by Richardson Studio, printed by W.E. Smith Ltd, Syd." Ref: IMDB.
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Thou Shalt Not
Steal 1928. Colour lithograph. Source: Josef Lebovic Gallery and NFSA. |
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| Matrimony 1927. Colour lithograph. Source: Josef Lebovic Gallery and NFSA. |
82. Looping the Loop / Jenny Jugo, Warwick Ward / November 1929. Full colour, stone lithograph poster known - NFSA Collection. Poster - Cinema Release logo in image lower left, 100.7 x 36.3cm. Text reads "Cinema Art Films present Jenny Jugo and Warwick Ward in Looping the Loop. A thrilling drama of the circus. This poster produced by Richardson Studio. Printed by W.E. Smith Ltd, Sydney."
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| Looping The Loop 1929. Colour lithograph. Source: Josef Lebovic Gallery and NFSA Collection. |
83. Under the Greenwood Tree / 14.12.1929.
84. The Spy / Spione 1928 / Fritz Lang / Rudolf Klein-Rogge / UFA / 28.12.1929 / Empire / F 6 1.
85. Wolves of the Underworld 1927 / Henry George / 1929. Poster text continues "Cinema Art Films present Henry George and an all star cast… A thrilling drama of mystery and suspense. Hegarty Studios. Marchant & Co. Limited, Printers, Sydney."
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| Wolves Of The Underworld 1929. Colour lithograph. Source: Josef Lebovic Gallery. |
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86. Painted Faces / 20.1.1930.
87. The American Prisoner / 25.1.1930.
88. Mr Antonio / 8.2.1930.
89. Woman to Woman / 8.3.1930.
90. Blackmail 1929 / Alfred Hitchcock / Anny Ondra, John Loder / BIP / 15.06.1930 / Capitol / S 4 1. Sound - 7552 feet. Ad. "See it and hear it - Our Mother tongue as it should be spoken."
91. The Swellhead / 28.6.1930.
92. Three Troopers / 12/7/1930.
93. Border Roamance / 13.7.1930.
95. Mamba / 26.7.1930.
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1939
96. The Grand Illusion / La Illusion 1937 / Jean Renoir / Jean Gabin, Dita Parlo, Pierre Fresnay, Erich von Stroheim / RAC (Realisation d'Art cinematographique) / 19.04.1939 / Savoy / F 3. Ad,: 'Another great picture made for Englsih audiences'.
97. The Cheat / Le Roman d'un Triicheur 1936 / Sacha Guitry / Sacha Guitry, Marguerite Moreno / Cineas / 16.06.1939 / Savoy / F 3. Ad.:'Produced and directed by Sacha Guitry in English'.
98. The Beggar Student / Der Bettelstudent 1936 / Georg Jacoby / Fritz Kampers, Harry Hardt / UFA / 11.08.1939 / Savoy / F 5.
99. Maternity / Maternit‚ 1934 / Jean Choux / Fran‡oise Rosay, Felix Oudart / Synchro-Cin / 15.09.1934 / Savoy / F 3. Ad. 'France's tribute to the vast number of unwed mothers'.
101. La Bandera / The Flag 1935 / Julien Duvivier Annabella, Jean Gabin / SNC (Socity Nouvelle de Cinematographie) / 24.11.1939 / Savoy / F 10. Dubbed (innocuously).
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References
CAARP - Cinema and Audience Research Report, Australian Research Council, [website], 2014. Available URL: http://www.caarp.edu.au/. Data collection focussing on an historical analysis of cinema going in Australia.
Cinema Art Films (Australia and New Zealand) Limited, 1928-1931, State Records, Sydney. Archival documents lodged under various company acts. Available URL: http://search.records.nsw.gov.au/items/869235.
Cinema Art Posters [webpage], National Film and Sound Archive, Canberra, ?2017. Available URL: https://www.nfsa.gov.au/collection/curated/cinema-art-posters.
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Cinema Art Films - Posters | Die Grosse Wette 1916 | Metropolis Film Archive | Pandora's Box 1929 | Royal Commission 1927 | Variety 1925
First published: 1 February 2016
Last updated: 22 April 2020
Michael Organ
Hi Michael - your information on Cinema Art is most interesting. Do you know why they stopped operating? I imagine in 1939 it was due to WW2. What happened in 1930?
ReplyDelete