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Lumiere Pictures and Television

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Canal+ Image International
Company typeDivision (formerly)
IndustryFilm, television, animation production and distribution
PredecessorEMI Films, Thorn EMI Screen Entertainment, Lumiere Pictures and Television, UGC DA
Founded1969
FateBecame part of Thorn EMI after merger; film catalog now owned by StudioCanal
Headquarters
UK and France
Area served
United Kingdom, France
Key people
Nat Cohen, Bryan Forbes, Bernard Delfont, Michael Deeley, Barry Spikings
ProductsFilms, television shows, animation
ParentEMI (originally), later Thorn EMI; catalog owned by StudioCanal (Canal+ Group)

Canal+ Image International—previously known as EMI Films, Thorn EMI Screen Entertainment, Lumiere Pictures and Television, and UGC DA—was a film, television, and animation production and distribution company operating across the UK and France. Originally a division of the EMI conglomerate, the enterprise functioned under several identities between 1969 and 1986. During this period, it maintained affiliations with Metro-Goldwyn-Mayer and Anglo-EMI under Nat Cohen's leadership, before becoming part of Thorn EMI following their corporate merger.

The company's film catalog underwent several ownership transitions and is currently controlled by StudioCanal, which was once a sister entity to Universal Music Group and belongs to the Canal+ Group. StudioCanal secured these rights after acquiring UGC, a European cinema chain that had previously obtained Lumiere Pictures and Television in 1996 through Cannon Films. EMI Films also held ownership of Elstree Studios in Hertfordshire; Cannon later acquired the studio but sold it to Brent Walker in 1988. Brent Walker subsequently sold half of the property to Tesco for supermarket development, while Hertsmere Council purchased the remaining portion, which continued its operation as a film and television production facility as of 2018.

Bryan Forbes and Nat Cohen

Following its acquisition of Associated British Picture Corporation (ABPC) in 1969—which included assets such as 270 ABC Cinemas, a share in Thames Television, Elstree Studios, and the recently acquired Anglo-Amalgamated where Nat Cohen was a partner—EMI established its own film division.

Under the banner EMI-Elstree, writer-director Bryan Forbes was appointed head of production in April 1969 on a three-year contract that included profit-sharing arrangements. Nat Cohen joined EMI’s board, resulting in what was described as "two competing fiefdoms" within the organization.

EMI unveiled plans for 28 films with an overall budget of $36 million: Cohen’s unit was allocated £7 million for 13 films, while Forbes was responsible for the remainder. Bernard Delfont characterized this initiative as "probably the most ambitious program ever undertaken by a British film company."

Forbes aimed to produce a variety of films steering clear of "pornography of violence," targeting completion of 14 films within 18 months featuring stars such as Peter Sellers and Roger Moore. Budgets were maintained between £5–10 million to optimize audience reach and financial returns.

In August 1969, Forbes announced fifteen projects including:

Forbes described this slate as a serious attempt to rejuvenate British cinema with particular emphasis on opportunities for young talent.

In November 1969, Cohen and Delfont revealed an additional eight films including:

  • The Burden of Proof (which was later retitled Villain)
  • Percy, a story revolving around a penis transplant

Several other projects involving stars like Julie Christie or directors such as John Schlesinger were planned but never reached production.

Early releases from Forbes’ tenure—including Eyewitness, Hoffman, and And Soon the Darkness—did not meet commercial expectations. Other films like The Breaking of Bumbo, Mr. Forbush and the Penguins, and A Fine and Private Place either failed at the box office or were abandoned altogether. Forbes encountered disagreements with Delfont and Columbia Pictures regarding the commercial prospects of Losey's The Go-Between. His directorial work on The Raging Moon also received criticism. Successful titles during this period included The Railway Children and Tales of Beatrix Potter.

Labour unrest impacted company operations during this time. Forbes expressed that EMI's board did not provide adequate support, particularly citing insufficient marketing budgets compared to Anglo-EMI under Cohen’s management. Delfont highlighted tensions arising from Forbes’ focus on British audiences contrasted with Cohen’s international market ambitions. He acknowledged that Forbes’ vision required investment disproportionate to anticipated returns.

Forbes stepped down in March 1971 after overseeing eleven productions at an estimated total cost of £4 million. Although initially deemed commercially unsuccessful, Forbes later asserted that his program had generated profits between £16–18 million for EMI by the early 1990s.

Industry analysts criticized EMI management for lacking strategic foresight and underfunding projects; Forbes’ insistence on producing numerous films sometimes resulted in compromised quality. Editor Teddy Darvas attributed some failures to Forbes’ direct involvement combined with reluctance to intervene with inexperienced filmmakers, which contributed to several box office disappointments.

Among projects Forbes wished to develop but could not realize were an adaptation of Graham Greene's play The Living Room, a musical centered around the Barnardo Boys, and Richard Condon’s dystopian narrative The Loud, Loud Silence. He also declined participation in the high-budget production of Ned Kelly.

MGM-EMI

In April 1970, EMI forged a co-production partnership with Metro-Goldwyn-Mayer, acquiring MGM's Borehamwood studio and transferring its equipment to EMI's Elstree location. This collaboration, known as MGM-EMI, merged their production and distribution activities, with EMI's facility renamed EMI-MGM Elstree Studios. The UK distribution of their films was handled by MGM-EMI Distributors Ltd., under the leadership of Mike Havas.

Although the initial plan targeted producing six to eight films each year, the actual output was lower. Forbes took on the role of managing director at MGM-EMI while continuing as head of production. In July 1970, they announced four co-productions: The Go-Between, Get Carter, The Boyfriend, and The Last Run—the last of which was ultimately produced without EMI's involvement.

MGM exited the joint venture in 1973 to partner with CIC for global distribution. Following this, the distribution division was renamed EMI Film Distributors Ltd., and the studio reverted to its former name, EMI-Elstree Studios.

Nat Cohen

EMI's Anglo-EMI Film Distributors Ltd., which evolved from Anglo-Amalgamated and was headed by Nat Cohen, functioned as an autonomous unit. This branch financed and distributed films including Percy (1971) and several productions from Hammer Film Productions, secured through Bernard Delfont's relationship with James Carreras. The original contract covered three films but expanded to nine over three years, each budgeted at approximately £200,000.

Following Forbes' departure in 1971, Cohen took over production leadership, steering EMI toward commercially viable projects aimed at international audiences. Despite chairman John Read acknowledging underwhelming profits in 1971, movies such as On the Buses and Up Pompeii achieved strong returns relative to their budgets. Read stressed that filmmaking remained a crucial avenue for future profitability.

By 1973, Cohen controlled nearly 70% of UK film output during a period of industry contraction, as competitors like Rank reduced their investments. Due to financial pressures, EMI avoided high-risk ventures despite maintaining a leading market share.

In May 1973, Cohen revealed a £3 million slate including Swallows and Amazons (1974) and Alfie Darling (1975), a follow-up to Alfie (1966).

Cohen’s most significant achievement was Murder on the Orient Express (1974), marking the first British-financed film to reach number one at the US box office.

In July 1975, Cohen announced an £6 million schedule comprising eleven new films:

Cohen stepped down as chairman on 31 December 1977.

Michael Deeley and Barry Spikings

In May 1976, EMI took over British Lion Films and appointed its executives, Michael Deeley and Barry Spikings, as co-managing directors of EMI Distributors, with Nat Cohen serving as chairman and CEO. Both Deeley and Spikings joined EMI's board alongside Bernard Delfont. Delfont mentioned that Cohen was content with a £6 million revolving production fund.

Deeley and Spikings implemented a policy of producing films only when at least half of the budget was secured from an American studio, thereby limiting financial exposure but diminishing the distinctly British character of the films. Their focus was on action movies with broad international appeal, starring well-known actors. Their initial lineup featured three US-based productions costing $18 million collectively: The Deer Hunter, Convoy, and The Driver (all released in 1978), alongside UK-based projects such as Death on the Nile, Warlords of Atlantis, and Sweeney 2 (also 1978). Proposed but unrealized films included The Last Gun and Chinese Bandit.

EMI also committed $5 million to Columbia Pictures productions, selecting films like Close Encounters of the Third Kind, The Deep, and The Greatest (all from 1977), as well as The Cheap Detective. Delfont explained that this investment was intended to acquire Columbia's Screen Gems division, which yielded profits except for losses incurred by The Greatest.

In July 1976, EMI acquired Roger Gimbel's Tomorrow Enterprises, creating EMI Television under Gimbel’s management. This branch produced numerous American TV movies, including The Amazing Howard Hughes (1977) and Deadman's Curve (1978).

EMI withdrew financial support for Life of Brian (1979) after Bernard Delfont expressed objections to its religious themes.

By April 1978, EMI announced a collaboration with the newly established Orion Pictures, planning films such as Arabian Adventure (1979). Some intended projects like "Cutter and Bone" and "Chinese Bandit" were later abandoned.

Michael Deeley left EMI in 1979, while Barry Spikings remained in charge of film production.

Spikings, AFD and Thorn-EMI merger

Barry Spikings unveiled a film roster featuring titles like The Jazz Singer starring Neil Diamond, The Elephant Man (both released in 1980), Honky Tonk Freeway (1981), Franco Zeffirelli's biographical film on Maria Callas, along with Discoland, The Awakening, and The Knight, directed by Ridley Scott.

Bernard Delfont established Associated Film Distribution to handle distribution for films produced by EMI and ITC, which was controlled by his brother, Lew Grade. Following the merger of EMI with Thorn Electrical Industries in 1979, EMI’s film division was rebranded as Thorn EMI Screen Entertainment.

By March 1980, EMI had released only one British film, The Mirror Crack'd, which failed to perform well commercially. Lord Delfont announced plans to acquire two British screenplays: The Defense by John Mortimer and Off the Record by Frederick Forsyth. He emphasized that although 60% of production costs would be spent in the United States, "100% of the profits would return to this country," underscoring the importance of producing internationally marketable films to boost exports.

In February 1981, Barry Spikings disclosed a £70 million film program including titles such as Honky Tonk Freeway, Memoirs of a Survivor, Comrades, and Walter Hill’s project, The Knight, though this last film was never realized.

By March 1981, Spikings acknowledged that Associated Film Distribution had not succeeded as planned and announced its closure, with Universal taking over distribution duties for EMI Films. He noted that production and distribution were distinct operations, highlighting that despite recent box-office disappointments like Can't Stop the Music, Honky Tonk Freeway, and Raise the Titanic, EMI films had won five Academy Awards.

Also in 1981, Thorn EMI launched its home video division named Thorn EMI Video, debuting with 14 titles including Can't Stop the Music, Death on the Nile, and Queen: Greatest Flix. This unit primarily operated across the UK, US, and Australia, acquiring licenses from studios lacking their own home video arms such as New Line Cinema, Orion Pictures, Carolco Pictures, and Hemdale Film Corporation.

Verity Lambert

In January 1983, Barry Spikings departed, and Verity Lambert was named head of production, with Gary Dartnall assuming the role of executive chairman. Lambert’s early project lineup featured Slayground, Comfort and Joy, Illegal Aliens (which was later retitled Morons from Outer Space), and Dreamchild. The production strategy aimed to release five films annually, each with a budget ranging from $5 to $10 million.

On 1 March 1983, EMI Films initiated legal action against United Artists concerning distribution rights for WarGames. EMI had financed the film, while UA held North American distribution rights, and EMI retained international rights, having paid $4.5 million upon delivery.

In November 1984, Thorn EMI Video’s U.S. division entered into a partnership with HBO, resulting in the creation of Thorn EMI/HBO Video. HBO took an equity position and provided content for video distribution.

By December 1984, Thorn EMI raised £36 million through share offerings to fund productions including A Passage to India, Morons from Outer Space, Dreamchild, Wild Geese II, and The Holcroft Covenant, all slated for 1985 release.

In March 1985, Thorn-EMI announced a $175 million financing pool intended to support approximately twenty films. This fund offered loans or investments for projects with budgets near $13–14 million, targeting global audiences. On 15 May 1985, Thorn EMI Screen Entertainment secured an international distribution agreement with Gladden Entertainment.

Lambert stepped down in July 1985. Following her departure, TESE reduced its internal production activities and shifted focus toward independent film projects. That same month, TESE inked a 30-month exclusive agreement with French distributor AAA for British film library titles numbering twenty; however, full home video rights were excluded. On 6 August 1985, Thorn EMI Screen Entertainment finalized multiple agreements with independent producers—John Bradbourne, Richard Goodwin, Jeremy Thomas, Euan Lloyd, Chris Chrisafis, Verity Lambert herself, and Simon Perry—granting them extensive autonomy in developing their films. The final productions under Lambert’s tenure included Clockwise and Link.

On 20 August 1985, Thorn EMI Screen Entertainment and Universal Pictures, which had served as EMI’s U.S. distributor since the acquisition of Associated Film Distribution in 1981, mutually agreed to terminate their U.S. partnership.

Reflecting in 1997, Lambert commented: "The individual who hired me left the company, and their successor neither wished to produce films nor retain me. Although I completed some projects I am proud of—such as Dreamchild and Clockwise—the experience was challenging. I was committed to fulfilling my three-year contract but ultimately left corporate filmmaking to focus on independent production."

Denouement

In November 1985, Thorn EMI Screen Entertainment was placed on the market, drawing interest from entities including Rank, Cannon, Robert Maxwell, Heron Communications, as well as a management buyout led by Gary Dartnall. By December 1985, the company accepted a £110 million ($161.7 million) management-led bid for the full acquisition of Thorn EMI Screen Entertainment. The British Lion Film Productions Ltd., which EMI had acquired in 1976 along with its associated trademarks, was sold off to former employee Peter Snell of Britannic Film & Television.

In April 1986, Thorn EMI divested its film production and distribution division (Thorn EMI Screen Entertainment), home video unit (Thorn EMI Video), and cinema chain operations (ABC Cinemas) to businessman Alan Bond. Bond subsequently sold these assets to The Cannon Group within a week. Approximately one year after this transaction, Cannon offloaded the majority of its film library to Weintraub Entertainment Group. Additionally, Cannon disposed of its share in the video partnership (renamed HBO/Cannon Video), leaving HBO as the sole operator.

Weintraub Entertainment Group

Jerry Weintraub established Weintraub Entertainment Group (WEG) on July 1, 1986. By February 1987, WEG had secured $461 million in funding from entities such as Columbia Pictures and Cineplex Odeon through a combination of securities, loans, and advances. Key backers included The Coca-Cola Company and US Tobacco. Additionally, WEG arranged a $145 million, seven-year credit facility with Bank of America and inked a 20-year distribution agreement with Columbia, aiming to produce seven to eight films annually.

In March 1987, WEG entered into a three-year deal with Robert Stigwood's RSO Films for producing and distributing movies budgeted between $12 million and $15 million. Although there were plans to finance a film adaptation of Evita featuring Oliver Stone and Meryl Streep, the project was ultimately abandoned.

WEG expanded in May 1987 by acquiring Cannon’s British film library of 2,000 titles—including the Thorn-EMI Screen Entertainment collection—for $85 million, partially financed by a $50 million loan. That July, Harry Usher took on the role of President at Weintraub International Enterprises.

By January 1988, Barney Rosenzweig was named chairman of WEG’s television division and corporate vice president. However, in July of that year, Bank of America withdrew its credit line due to challenges in syndicating the loan connected to Thorn-EMI assets. WEG’s inaugural release under this financing arrangement was The Big Blue in August 1988, which opened with $1.6 million in box office revenue.

Harry Usher departed from his position in January 1989. Following this, Bank of America and WEG established a fresh $95 million credit facility over two years, with Crédit Lyonnais also participating. In 1989, Sony/Columbia divested its 15% stake in WEG after several executive appointments from Warner Bros.

WEG filed for Chapter 11 bankruptcy protection in September 1990; Jerry Weintraub left the company that same month and negotiated terms with Warner Bros., while Columbia remained financially liable for WEG’s film releases.

Later in 1990, Film Asset Holding Co., formed by WEG’s principal banking creditors, initiated legal action against Weintraub regarding his structuring of the Peter Pan rights sale to Sony Pictures; this dispute was resolved by January 1992.

In August 1998, Bear Stearns was ordered to pay $7 million following a jury verdict where investors alleged they were misled by an $83 million bond prospectus linked to WEG’s bankruptcy.

After ceasing operations, WEG’s assets were reorganized under WEG Acquisition Corp., which is currently owned by Sony Pictures; meanwhile, television rights are managed by Paramount Pictures.

Lumiere Pictures and Television/UGC DA/Canal+ Image International

The origins of Canal+ Image and StudioCanal date back to August 5, 1873, when Nouvelle Compagnie Marseillaise de navigation à vapeur A. et L. Fraissinet et compagnie, a maritime transport company based in Marseille, was founded. The group faced decline during the 1960s due to decolonization and competition from jet airliners, resulting in the sale of its shipping assets by 1964.

In July 1981, Cyril de Rouvre acquired the struggling Compagnie Fraissinet and transformed Fraissinet-Transair into Financière Robur, focusing on maintenance and resale within the business aviation sector. De Rouvre consolidated his film investments under Robur Financière, encompassing entities such as Compagnie Française de cinématographie (CFC), Consortium Financier pour la production de films (CFPF), and Coficiné—all specializing in film financing. He further expanded by acquiring numerous film libraries through Robur Droits Audiovisuels, established in 1987.

On June 30, 1992, Financière Robur merged its film catalog with UGC by absorbing UGC Droits Audiovisuels, creating France’s largest film collection comprising nearly 1,500 feature films along with 500 hours of audiovisual material. In November 1993, UGC Droits Audiovisuels acquired United Communication’s assets, securing French-language rights for nearly 800 MGM and United Artists films plus an additional 2,000 hours of television programming.

The consolidation continued in January 1996 with the purchase of Jean Cazès' Lumière group—France's second-largest film and audiovisual rights collection. Lumière had previously acquired the British Weintraub (Thorn EMI) catalog in 1991. Formed in 1992 through the merger of Initial Groupe and Investissements en Droits Audiovisuelles, Lumiere possessed an extensive library representing about one-third of UK silent-era films. Cazès later spun off Lumiere's Los Angeles division as Lumiere International.

In June 1996, Canal+ purchased UGC Droits Audiovisuels, gaining access to rights for over 5,000 films. This acquisition was facilitated by their shared major shareholder General des Eaux, which held stakes in both companies. Subsequently, UGC Droits Audiovisuels merged with Canal+ D.A. to form Canal+ Image International in June 1997—preceding StudioCanal’s merger with Le Studio Canal+ in 2000.

Between the 1990s and early 2000s, Warner Home Video distributed StudioCanal titles under the Canal+ Image label across the UK on VHS and DVD formats. The StudioCanal brand persisted until its own UK distribution launch via Optimum Releasing in 2006.

Filmography

Lumiere Pictures and Television backed and produced a variety of films under different titles and in partnership with several production companies. Significant joint ventures include:

Bryan Forbes

Hammer co-productions

MGM-EMI

Nat Cohen/Anglo-EMI

Highlighted productions:

  • All the Way Up (1970) (AA)
  • Spring and Port Wine (1970) (AA)
  • Entertaining Mr Sloane (1970) (AA)
  • In 1971, AE produced titles such as Percy, Up Pompeii, and Villain, all overseen by Kanter, Ladd, and Kastner
  • Also from AE in 1971 was Ken Loach’s direction of Family Life
  • Additional works include: Steptoe and Son, Henry VIII and His Six Wives, Fear Is the Key, Murder on the Orient Express, along with cult favorites like Monty Python and the Holy Grail.

Co-productions with Columbia

Prominent films released:

Michael Deeley and Barry Spikings era

Major productions include:

  • Silver Bears(1977), distributed in the US by C
  • Follow-ups such as Sweeney 2(1978)
  • Partnerships with leading studios: United Artists for Convoy, 20th Century Fox for The Driver,
  • Critically praised films like Universal’s Death on the Nile(1978) and The Deer Hunter(1978), with the latter being inducted into the National Film Registry in 1996.

Television films

Between 1977 and the early 1980s, a variety of television movies were produced, including:

Barry Spikings

Throughout Spikings' leadership, the slate featured:

  • Adventure genre films exemplified by Arabian Adventure
  • Critically praised works including The Elephant Man, co-produced with Brooksfilms and released by Columbia-EMI-Warner UK and Paramount in the US
  • A wide range of genres spanning musicals (Can't Stop the Music) to dramatic pieces (Frances, Tender Mercies)
  • Collaborations with distributors such as Universal, Orion, and United Artists Classics

Verity Lambert

Under the direction of Lambert, notable productions encompassed:

Subsequent film releases

Prominent later projects included:

Weintraub Entertainment Group

Lumiere was involved in either distribution or production for titles such as:

See also

External links

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