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by James Hoyle, archive co-ordinator for British Pathé

This post is Part II of IV.

For the years 1895 to 1910, see blog post “Pathé Before British Pathé”.

For the years 1933 to 1958, see blog post “A Golden Age”.

For the years 1958 to 2012, see blog post “Decline and Transformation”.

By the time Charles Pathé opened the UK newsreel arm of his company CGPC (established 1896), the Pathé brand was already influential in the world of film production and distribution, as well as a notable record label. A Westminster distribution office had opened as early as 1902, and Pathé-branded movie theatres were spreading across Western Europe. CGPC had invented the newsreel in 1908 for French audiences, and in 1910 spread this innovation to other markets as well. One result was the UK newsreel office located on Wardour Street which produced its first newsreels under the Pathé Animated Gazette label. (That same year, Pathé News was set up in the United States).

The Pathé Building on Wardour Street, London.

Many of these early newsreels are sadly missing. One of the earliest still within the archive is believed to be the departure of the Terra Nova, Captain Scott’s famous ship that took him to the Antarctic. It was a section of the 87th newsreel package, released in cinemas in December of 1910, and was one of eight stories that included flooding in Worcester and a railway crash in Willesden. Other early footage of note includes the coronation of George V, the RMS Titanic, and the death of suffragette Emily Davison.

The archive also contains an extensive collection of World War One material, much of which remains unidentified. Dates and locations are often unclear. Cataloguing is not helped by a lack of clarity over which events have been captured as they occurred and which are staged (photographers and cameramen were not above posing corpses for a better shot). Regardless, the material remains incredible to view. Though silent, grainy, and black-and-white, the footage is often awesome and sometimes harrowing. The faces of the daring recruits, huddled in their trenches, many about to die, are preserved for posterity. It is a shame that we cannot put a name to them.

Footage from the Western Front … probably.
In this case the faces of the soldiers are hidden by chilling gas masks.

From 1918, CGPC began to be run as two separate divisions, with Pathé-Cinema (films and newsreels) under the control of Charles Pathé, and Pathé Records (music) overseen by brother Émile Pathé. This was the first step towards the eventual splintering of the company that can cause endless headaches for anyone attempting to trace the history of the Pathé brand:

  • The USA Pathé-Cinema arm (including Pathé News) was sold in 1921. It was run by Pathé Exchange and then RKO Radio Pictures, which shut down the film production arm. Warner Brothers purchased the newsreel arm in 1947 before selling it to Studio Films. Pathé News disappeared from cinemas in the 1950s.
  • In 1927, CGPC also sold the UK arm of Pathé-Cinema, which included both the film production office and the newsreel office, to First National, forming First National-Pathé.
  • In 1928 CGPC sold the French and UK arms of Pathé Records to the British Columbia Graphophone Company. The USA arm of Pathé Records was sold the following year to the American Record Corporation. Its assets now lie with Sony.
  • The remaining assets of CGPC (such as the French film production arm, the international cinema chain, and the French Pathé Journal newsreels) were taken over by Bernard Natan to form Pathé-Natan. It changed hands a few times after that before becoming the present-day film company “Pathé”. Pathé Journal continued until 1981. Its newsreel archive now lies with Gaumont-Pathé.

This was the complicated process by which the UK newsreel company became divorced from its overseas parent and sister companies, never to be reunited. Pathé-branded newsreel and film production in the UK was now on its own.

Audiences could watch – and, thanks to the introduction of sound, hear – Albert Sandler playing “Hungarian Dance” by Brahms in this 1930 edition of Pathetone Weekly.

As First National-Pathé, newsreels were released under the name of Pathé Gazette and an internationally-distributed newsreel was produced from Wardour Street – Pathetone Weekly. But the great innovation of this period was, of course, the introduction of sound in 1930. This brought a new immediacy and reality to the footage, despite the limitations of early technology.

Sound also allowed newsreels to start including interviews, and one early interviewee was the Editor of the Pathé Gazette himself, upon the occasion of the UK newsreel’s twenty-first anniversary. In the clip, the Editor takes the opportunity to look back on what his company has achieved so far and on the recent history that has been captured by the Pathé cameramen. We may not be able to witness the Norman Conquest or the Great Fire of London, the Editor says, but we can relive history which has been preserved through the magic of newsreels: “One of cinema’s greatest privileges is to be able to bring back the past.” The company had proven its worth.

A title card from a Pathé Super Sound Gazette.

But in 1931, Warner Brothers purchased First National and formed Warner Brothers-First National and the future of the Pathé brand looked uncertain. That is, until 1933, when the golden age of British Pathé really began.

British Pathé is always keen for corrections and additional information about its footage and corporate history. Please email us or leave a comment beneath the relevant clip on the website, www.britishpathe.com.

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3 thoughts on “Establishing Itself: British Pathé from 1910 to 1933

  1. I’ll speak to my mother – her father worked for Pathe and travelled all over the world. I remember his study with a wall of movie reels…. The family came back to the UK in 1931/2 from USA. I have his passports and details of his travels….

  2. My father worked for Pathe and then for Warner Pathe and also travelled far and wide and loved his job so much very exciting times,he worked along Arnold Barber and Macgrego Scott.his name was Phil Kester.

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