Arthur W. Kelly was vice president of United Artists (UA) and in charge of their foreign distribution from August 1947-December 1950.
After World War II conditions in foreign markets were chaotic. The immediate post-war period brought a boom in foreign distribution. But the boom held the seeds of a bust. As foreign counties saw a flight of currency via film revenues, they soon instituted taxes, quotas, and currency export freezes that were designed to retain capital and to build up their indigenous film production industries.
This situation was important to UA since the bulk of their actual profits came from abroad, particularly Great Britain. The British situation was exacerbated by the rise of the J. Arthur Rank Organization. (J. Arthur Rank was a leading producer in England and chairman of the Board of Directors of both the Odeon and British-Gaumont circuits.) With its control of the Odeon Empire, Rank had the ability to deny UA access to theaters and enjoyed near monopoly control of British production and exhibition.
Several organizations were instrumental in the resulting fight for foreign markets. Among these were the Motion Picture Association (MPA), which lobbied in favor of distributors and issued reports relating to foreign distribution; the Motion Picture Export Association (MPEA), a cartel which regulated distribution in occupied contries during World War II; and the Film Boards of Trade which operated in several countries and coordinated and sometimes litigated over distribution problems. The Kelly File is subdivided into three groups: General Correspondence, Miscellaneous Correspondence, and Correspondence by Country. The original order has been retained and consequently there is some overlap in these sections.
General Correspondence consists of extensive correspondence with both producers and producers' representatives and documents all aspects of foreign distribution of films. Among the topics discussed are offers of films for distribution; contract interpretations and disputes; and the booking, dating, terms, playing, and collection of money for various films. There are also reports and statistics which relate to picture earnings, distribution problems, circuit deals, dubbing, travel, and other aspects of foreign distribution. Especially important in this series is information relating to the Rank Organization and the Odeon Theatre interests.
Miscellaneous Correspondence discusses somewhat more general subjects. Again the British situation is described, particularly in terms of the production and distribution of British and Rank films in the United States. Other notable materials include MPA and MPEA minutes, reports, and correspondence; accounting and distribution figures; internal correspondence with other UA executives; and information on currency restrictions.
Correspondence by Country consists of files dealing with specific distribution matters and problems in individual countries. Files on England contain materials from David Coplan and M.C. Morton, English UA executives, and discuss the English situation. Problems such as quotas and UA's difficulties in obtaining exhibition agreements with the Rank circuit are discussed. Files on Germany provide insight into the Allied Occupation and later developments. In addition individual countries' folders contain MPA reports and minutes and information on the Film Boards of Trade.
