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Scanned from the collections of The Library of Congress

Packard Campus for Audio Visual Conservation www.loc.gov/avconservation

Motion Picture and Television Reading Room www.loc.gov/rr/mopic

Recorded Sound Reference Center www.loc.gov/rr/record

Independents Differ Over Bill to Bar Block Booking

S. Warns of Threats to ollywood Film Supremacy

Warners Drop Studio Radio Series After Disagreement

OL 130, NO. 10

Entered as second-class matter, January 12, 1931. at the Post Office^ i weekly by Quigley Publishing Co., Inc., at 1270 Sixth Avenue* I copies, 25 cents. All contents copyright 1938 by Quigley Publishing C

New Move in Congress for A Permanent Stage Bureau

In Better Theatres: "Building Materials and Remodeling"

MARCH 5. 1938

York, \'. )'., under the act of March 3. 1879. Published ier Center, New York. Subscription, $3.00 a year. Singh

In Two Section;- — Section One

BIG WORDS!

'"A Yank at Oxford' — A first-class comedy . . . One of the most enjoyable of the season. . .Robert Taylor's engaging personality has much to do with the picture's enthusiastic reception at the Capitol."

—KATE CAMERON, DAILY NEWS'

"A picture for any fan... charming, colorful, exciting, witty and tender . . . refreshingly different . . . Direction brisk, smart, inspiring to the gifted players. . .The film should add a masculine following to Robert Taylor's impressive army of feminine fans."

— BLAND JOHANESON, DAILY MIRROR

"Thoroughly entertaining . . .You'll find it fun."

— ROSE PELSWICK, JOURNAL-AMERICAN

"Uncommonly diverting show... A fresh background, and an entertaining one." —FRANK NUGENT, TIMES

"Action picture . . . with a bag of gags that are crisp with freshness . . . Bright entertainment every foot of the way . . . Robert Taylor justifies the enthusiasm of his following." —HERBERT COHN, B'KWN-EAGLE

"Gay, happy-go-lucky... artfully and entertainingly told by a superior cast . . . Excellent . . . Really robust, rol- licking, amusing . . . directed and performed with rare skill . . . Robert Taylor thoroughly ingratiating per- sonality, as well as a comedian of the first rank . . . Fine mixture of first-rate acting, lively story- telling and expert direction. Undoubtedly one of the comedy treats of the early season."

— WILLIAM BOEHNEL, WORLD-TELEGRAM

"An engaging film... smart direction... consummately cast . . . Mr. Conway has conjured up much charm . . . Robert Taylor plays the Yank with conviction."

—HOWARD BARNES, HERALD-TRIBUNE

"First-rate cast... witty and dramatic. ..Robert Taylor's best effort to date . . .Taylor fans and others will find much to enjoy."

— ARCHER WINSTEN, POST

"A cracking good picture . . . dash and excitement . . . dry and likeable humor . . . characters well played."

—EILEEN CREELMAN, SUN

BIG

CROWDS!

(on New York's Broadway and on every Main Stem of America — with Hold-overs everywhere!)

•This line goes on and on

THE YANKS ARE COMING!

And the Records are GOING!

BETTE DAVIS

AS BRILLIANT AS ONLY THE SCREEN'S GREATEST ACTRESS COULD BE!

AS BOX-OFFICE AS ONLY HER GREATEST STORY COULD MAKE IT!

with

HENRY FONDA • GEO. BRENT

MARGARET LINDSAY DONALD CRISP • FAY BAINTER A WILLIAM WYLER PRODUCTION

Richard Cromwell • Henry O'Neill jf^T^^V Spring Byington • John Litel Screen play by Clements Ripley, (KKg^^sggJ, Abem Finkel and John Huston From the Play by Owen Davis, Sr. V"lliy Music by Max Steiner

WARNER BROS.

Have The World Waiting For Its

RADIO CITY PREMIERE

SOON!

AS SOLIDLY PRE ADVERTISED AS ONLY A 24MAGAZINE CAMPAIGN AND 4000 24-SHEETS CAN GUARANTEE!

stops Broadway traffic with opening turnout that hit season's top gross (down went 'Submarine D i ) at Warner Bros! blazing world premiere!

SIX IMPORTANT PICTURES

MOVJE^BAC IC^VJ ROXY!

THE KEYSTONE OF YOUR FUTURE

MOTION PICTURE HERALD

I)

MARTIN QUIGLEY, Editor -in-Chief and Publisher

VOL. 130, NO. 10	OP	March 5, 1938

NEW MEDDLING

APPARENTLY the educators of this country find it impos- sible to attend to their own business. Most extraordinary presumptions are involved in this week's manifestation by which the Institute of Propaganda Analysis, officing in the Columbia University region of Morningside Drive, demands that the motion picture industry should devote the screen to matters of "social

significance,.!1

As set forth in an article in the news columns of this issue, the membership of the Institute includes many persons of prominence in the field of education across the nation. Typical is this expression from the Institute's literature:

"Only in rare instances is it (the motion picture) an agency for illuminating problems of human conduct, for developing social insight, for encouraging a review of our beliefs and cus- toms, of our modes of government, and of the relationship between peoples and races. . . ."

That is happily correct.

The motion picture has done fairly well in becoming the world's greatest entertainment medium by devoting itself to its own special function of entertainment, by tending to its own business.

WHEN the names of eminent personages, carrying with them the association and authority of such institutions as Harvard, Columbia University, New York Uni- versity, the University of Chicago, and numerous others, engage in such a movement they are certain to attain attention.

The influence of these august personages, while it can not reach very far among the millions of patrons of the box office, can be felt considerably among militants promoting special causes, special legislation, special taxation and otherwise dis- turbing the normal conduct of business and service of the box office public.

Once again, the answer is, to all those who want the screen to do something else, "go get a camera."

Most current endeavours are addressed at some process of acquiring for special causes the attention of the great audience which the screen has made for itself.

AAA

NEW BRIDGE MENACE

THE motion picture industry may look with an unfriendly eye on the current endeavours at the importation of the new bridge game, with five suits in a sixty-five card deck. The new game seems to be getting a gust of newspaper publicity that promises progress.

The unhappy fact is that bridge, as the predominant and family card game, is probably the most serious competitor of the motion picture in the first run brackets.

Anything that stirs interest in bridge creates more reasons to stay home and is adverse to the lures of the box office.

Card games got their big boost into the currents of civiliza- tion in the western world as a device for amusement at the court of a dim-witted king. Cards were a substitute for con- versation among persons who had nothing to say, and probably others who were too discreet to say anything.

For automatic, self-feeding entertainment, without undue strain on the mentality, we recommend the motion picture. Five suit bridge is nothing less than a national menace. Perhaps it can be referred back to the League of Nations which seems to have not so much to do of late.

AAA

EDUCATION vs. VOCATION

A DEVIL of an uncomfortable time is being- had among the schools of journalism in their endeavours at answers to the comment of Dr. Robert M. Hutchins, president of the University of Chicago, recorded on this page last week, in his charge that schools of journalism are "the shadiest educational ventures under respectable auspices. They exist in defiance of the obvious fact that the best preparation for journalism is a good education. Journalism itself can be learned, if at all, only by being a journalist."

"Editor & Publisher," journal of journalists, comes forth with a symposium of answers. Thirteen heads of schools of journalism answered, and two of those, by some indirection, supported Dr. Hutchins' general contention. Eight newspaper editors an- swered and five of those agreed. The percentage seems in his favour.

Most pungent of the remarks recorded is from an editorial in the New York Daily News, a spiritual scion of the aggressive hell-whooping journalism of Chicago: "The News has a lot of office boys B.A., B.S. etc., degrees; and we believe their pros- pects are better than those of any journalism graduate."

JUST above thirty-five years ago this windy March morning, the editor of Motion Picture Herald, sitting in a class room in an engineering school heard a professor of thermo- dynamics remark: "There is too much concern in this class about whether you are enrolled in mechanical, electrical, civil, chem- ical or mining engineering. I want you to know now that a few years after you are out of school with all your degrees you will have to think hard to remember what course you took."

A free translation of thermodynamics would be to call it the science of putting on the heat. That, in its various figurative applications, seems to have been an excellent course for one destined to an unpremeditated career in journalism.

Looking into the journalistic, or public relations, department of the motion picture industry, one finds an array of about a score of men in significant posts, all rating in earning power and spheres of influence rather high as journalists go. Not one of them has come into his position because of a positively directed vocational education.

On our motion picture industry the job is learned on the job. The school system finds itself in a plight because its vocational efforts have proved so often promises unfulfilled, unfulfillable.

A

MOTION PICTU RE HERALD

March 5, ! 9 3

This Week

H7

H Red

Threat to Hollywood

Existing, new and contemplated quota, censorship and taxation restrictions in a score of foreign countries were cited this week by the United States Government as threatening the economic position of Holly- wood motion pictures in the world's markets.

Declaring that these problems will have to be adjusted if the American motion pic- ture business is to continue its wide opera- tions abroad, the Motion Picture Division of the Bureau of Foreign and Domestic Commerce analyzes the situations confront- ing U. S. product in the principal countries.

The report starts on page 12.

Increased Profits

Western Electric Company, Inc., Radio Corporation of America and General Out- door Advertising Company, Inc., all doing business within or with the motion picture industry, this week issued financial state- ments showing increases in net profit for the calendar year of 1937 as compared to the previous year. Universal Pictures Cor- poration and all its subsidiaries, showed a net loss of $1,084,998 for the fiscal year ended October 31st, 1937, as against a net loss of $1,835,419 for the preceding year. Joseph M. Schenck, chairman of the board of directors of Twentieth Century-Fox, an- nounced his corporation will show a net profit of between $8,500,000 and $9,000,000 for 1937.

Financial news is reported on page 27.

Chicago Business Up

With exhibitors in Chicago and environs saying that never before have so many out- standing productions been available at one time from so many companies, the upward trend of receipts that showed itself at the beginning of the year is being maintained. The Balaban and Katz Chicago Theatre ran "The Buccaneer" three weeks, the first time in the theatre's 16 years that any production had stayed more than fortnight.

Reports on the business being done at other theatres in Chicago are detailed on page 28.

Anti-Block Booking

Senator Matthew Neely's anti- block book- ing bill, now pending in the Senate, was praised by Pete J. Wood, secretary of the Independent Theatre Owners of Ohio, and attacked by New York Independent Theatre Owners Association this week. A movement to have the bill returned to the commerce committee because hearings were not held was started in Washington by opponents of the measure.

These and other trade practice develop- ments are recorded on page 16.

CI

i Films

Consideration of ways and means of plac- ing motion pictures in classrooms through- out the United States formed one of the chief topics of discussion at the National Education Association in Atlantic City this week. Similar subjects are to be discussed in Chicago June 20th to 23rd when the Na- tional Conference on Visual Education meets at the Francis W. Parker school.

Quality in France

The quality of French production, once accepted as one of the standards of the world but since surpassed, has been improv- ing steadily and during 1937 reached a peak indicated by the winning of three separate awards at the Venice Exposition. Improve- ment in the financial condition of the French cinema industry, however, while not yet totalled, is not expected to show quite as well.

Pierre Autre, writing from Paris on page 44, reviews the progress of the production branch during the year, and names the out- standing pictures.

MOTION PICTURE HERALD

Published every Thursday by Quigley Publishing Com- pany, Rockefeller Center, New York City. Telephone Circle 7-3100. Cable address "Quigpubco, New York." Martin Quigley, Editor-in-Chief and Publisher; Coivin Brown, Vice- President and General Manager; Terry Ramsaye, Editor; Ernest A. Rovelstad, Managing Editor; Chicago Bureau, 624 South Michigan Avenue, C. B. O'Neill, manager; Holly- wood Bureau, Postal Union Life Building, Boone Mancall, manager, William R. Weaver, editor; Toronto Bureau, 366 Adelaide Street West, Toronto 2, Ontario, J. A. Cowan, representative; London Bureau, 4, Golden Square, London W 1, Hope Williams, manager; cable Cpuigpubco London; Berlin Bureau, Berlin-Tempelhof, Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representative; Paris Bureau, 29, Rue Marsoulan, Paris 12, France, Pierre Autre, representa- tive, cable Autre-Lacifral-12 Paris; Rome Bureau, 54 Via Delia Mercede, Rome, Italy, Joseph D. Ravotto, repre- sentative; cable Ravotto-Unipress, Rome. Melbourne Bureau, Regent Theatre, 191 Collins St., Melbourne, Australia, Cliff Holt, representative; Mexico City Bureau, Apartado 269, Mexico City, James Lockhart, representa- tive; Prague Bureau, Uhelny trh 2, Prague I, Czechoslo- vakia, Harry Knopf, representative; Budapest Bureau, 3, Kaplar-u, Budapest, Hungary, Endre Hevesi, representa- tive; Buenos Aires Bureau, Avellaneda 3949, Buenos Aires, Argentina, Natalio Bruski, representative; Shanghai Bureau, 142 Museum Road, Shanghai, China, J. P. Koehler, rep- resentative; Tokyo Bureau, 880 Sasazuka, Ichikawa-s-hr Chiba-Ken, Japan, Hiromu Tominaga, representative; Rio de Janeiro Bureau, Caixa Postal 3358, Rio de Janeiro Brazil, L. S. Marinho, representative; India Bureau, K. G. Gidwaney, Post Box 147 Bunder Road, Karachi, India; Uruguay, P. O. Box 664, Montevideo, Uruguay, Paul Bodo, representative, cable Argus Montevideo; Amsterdam Bureau, 87 Waalstraat, Amsterdam Z., Holland, Philip de Schaap, representative; Vienna Bureau, Neustiftgasse 54, Vienna VII, Hans Lorant, representative; Chile Bureau, Casilla 13300 Santiago de Chile, A. Weissmann, repre- sentative; Copenhagen Bureau, Vesterbrogade 20, Copen- hagen V. Denmark, Kris Wlnther, representative. Member Audit Bureau of Circulations. All contents copyright 1938 by Quigley Publishing Company. Address all correspond- ence to the New York Office. Other Quigley Publications: Better Theatres, Motion Picture Daily, Teatro a I Dfa, International Motion Picture Almanac and Fame.

Employment, Not Wages

Wage increases, for the first time in years, will be a secondary bargaining issue when producers and heads of the international labor organizations meet in New York late this month to discuss provisions and the ex- tension of the basic labor agreement. With studio labor costs near their all-time peak and with other costs mounting in proportion, union leaders this year say they are more interested in measures for spreading em- ployment than in bargaining for important wage increases. Included in the negotia- tions in addition to the International Alli- ance of Theatrical Stage Employees and the American Federation of Musicians are the International Brotherhood of Teamsters and Chauffeurs, the International Brotherhood of Electrical Workers, and the Carpenters and Joiners.

A proposal for spreading employment by staggering work in the studios, already put before the producers by the IATSE, is ex- plained on page 24.

Remaking Industry

A group of educators, in the new Insti- tute for Propaganda Analysis, formed to "help the intelligent citizen detect and analyze propaganda" in public media of ex- pression— press, radio, screen — asserted this week that Hollywood's motion pictures lack social significance and fail to give a realistic view of life. Hollywood producers were further charged with holding back the de- velopment of good taste.

Advancing five "popular stereotypes" which it called to be the basis for most Hollywood production, the Institute in its report, which is detailed on page 15, asked for a reconstruction of the motion picture.

Korda's Status

Although revealing that he had talked with Dr. A. H. Giannini, president of United Artists, and with Douglas Fairbanks, Sr., a part owner of the company, John R. Sutro, a member of the board of London Films, said, before sailing for London this week, that the discussions were "personal" and had nothing to do with Alexander Korda's re- leasing plans. Mr. Sutro, who sailed on the Normandie, said Mr. Korda will remain with United Artists and that no discussions were held regarding the British producer signing an outside releasing or production deal with Paramount. Mr. Sutro also ex- pressed the hope that London Films' $9,000,- 000 program, now under way, will obtain a greater reception in the American market than London Films' product has in the past. In a general way, he said, he went over ex- hibition contracts with Emanuel Silverstone, the company's American representative.

March 5, 1938

MOTION PICTURE HERALD

9

MPTOA Bid

Radio Taxes

Morris Loewenstein, president of the The- atre Owners of Oklahoma, Inc., has ad- dressed a letter to each officer and member of the board of directors of the Motion Pic- ture Theatre Owners of America, inviting the MPTOA to hold its national convention in Oklahoma City.

In his letter, Mr. Loewenstein, who is also chairman of the convention committee, said : "The writer told Ed Kuykendall (president of the MPTOA) that, while we couldn't supply some of the playboy elegance of prior convention cities, we would give you a genuinely sincere opportunity for the con- structive working out of exhibitor prob- lems— a meeting that will justify the pres- ence of every leader interested in the wel- fare of this great industry. . . ."

Allied States Association is planning an elaborate entertainment program for its national convention which is scheduled for May 17, 18 and 19 in Pittsburgh, M. A. Rosenberg, president of the Western Penn- sylvania unit, said this week in New York.

Co-Trustees

Edward L. Alperson and Lloyd Wright will act as co-trustees in the reorganization of Grand National under Section 77B of the Bankruptcy Act as a result of the court proceedings in Hollywood last week.

Mr. Alperson made the appointment pos- sible by signing the petition for the re- organization in proceedings before United States District Judge William James. The court set March 12 as the date for a hear- ing and gave Mr. Alperson and Mr. Wright 30 days in which to develop a plan of re- organization.

Rumors that the Bank of America is in- terested in the refinancing of Grand National were denied in Hollywood this week by Dr. A. H. Giannini, chairman of the execu- tive committee of the bank.

Monogram Directorate

Seven directors of Monogram Pictures Corporation were reelected at an annual stockholders' meeting Wednesday at the home office. They are W. Ray Johnston, Scott R. Dunlap, J. A. Sisto, Sol Rosen- blatt, Trem Carr, William Rhinelander Stewart and O. Henry Briggs. Officers re- elected were Mr. Johnston, president; Mr. Dunlap, vice-president for production; Leon Fromkiss, treasurer; M. S. White, secre- tary; J. P. Friedhoff, controller, and Hugh G. Davis, assistant controller.

Mr. Johnston has called a meeting of Monogram franchise holders to be held in St. Louis, Friday, Saturday and Sunday of this week.

The Federal government would derive an estimated annual income of between $5,000,000 and $7,000,000 from the radio industry under a taxation bill proposed this week in the House of Representatives. The bill provides for imposing a levy upon broadcasting stations, based on the power authorized. The week also brought the can- cellation of the Warner Brothers program, "Your Hollywood Parade," which is spon- sored by the American Tobacco Company.

Radio stories are on page 18.

Advocates Missing

After repeated demands for action, the Chicago Council this week held a hearing on a proposed ordinance to ban double- feature programs by limiting the length of all shows to two and a half hours. The hear- ing lasted three minutes and failed to pro- duce any advocates of the suggested measure. Agitation against double bills, however, was started in Milwaukee, Kansas City and Omaha.

The double feature situation is discussed in an article on page 24.

Editorial

This Week in Pictures Release Chart Managers' Round Table The Hollywood Scene Showmen's Reviews Asides and Interludes In the Courts Deaths

Productions in Work

In the Newsreels

Short Subjects on Broadway

In British Studios

J. C. Jenkins' Colyum

What the Picture Did for Me

Page 7 Page 10 Page 65 Page 57 Page 29 Page 37 Page 33 Page 56 Page 56 Page 49 Page 75 Page 56 Page 30 Page 75 Page 51

Bureau of Fine Arts

A subcommittee of the Senate Committee on Education and Labor started hearings this week on the Pepper-Coffee bill for establishment of a permanent Federal bureau of fine arts. Burgess Meredith, act- ing president of Actors' Equity, told the committee that proponents of the measure are prepared to conduct a militant campaign for its enactment. Robert Montgomery, president of the Screen Actors Guild, sent a telegram to the committee, endorsing the measure.

Details are on page 17.

New York Allied

Allied has been carrying on a quiet or- ganizing drive in Albany, N. Y., which has developed to the point where officers are to be elected next month, Arthur K. Howard, business manager of Independent Exhibitors, Inc., said this week. Mr. Howard said the organization has been chartered as Allied Theatre Owners of New York, Inc., and has 120 members.

Mr. Howard said he plans to extend his organizing efforts to Buffalo and hopes to open Allied offices in Albany, New York City and Buffalo.

A meeting was held in the Hotel Lincoln, New York City, this week with more than 100 theatres represented, it was said.

Harry Brandt, president of the Inde- pendent Theatre Owners Association of New York, said that "Allied's attempt to organize a unit in New York City is Abram F. Myers' way of retaliating against the ITOA for our opposition to Allied's policies and tactics." He claimed that there were only four exhibitors at the organization meeting at the Hotel Lincoln.

Heads Studio

Moe J. Siegel, president of Republic, who arrived in Hollywood over the weekend, after a series of conferences with New York executives of the company, takes on the duties and title of managing director of Republic Productions in Hollywood, accord- ing to an announcement made this week by Herbert J. Yates. Mr. Siegel will be in complete executive charge of the company's studio.

The appointment is in line with the new studio setup which moves Sol C. Siegel up to the post of producer of all the company's feature pictures, and Charles E. Ford as- suming Mr. Siegel's post as producer of all westerns and serials. Republic has approxi- mately 40 features, 24 westerns and 4 serials lined up for new season announcement.

The moves complete the realignment of personnel.

10

MOTION PICTURE HERALD

March 5 , 19 3 8

/OSEPH M. SCHENCK, new president of Mo- tion Picture Producers, Inc., standing with Louis B. Mayer, retiring president of the organization, at the din- ner and ball held in honor of Mr. Mayer and in tribute to his achievements during the seven years of his incum- bency. Among the 500 guests at the event in the Biltmore Hotel, Los Angeles, were rep- resentatives of Government, clergy, finance, society and the press as well as notables of the motion picture world. The speakers were Mr. Schenck, Governor Frank F. Merriam, Norma Shearer, Cecil B. DeMille, Archbishop John J. Cantwell of the diocese of Los Angeles, Will H. Hays and Mr. Mayer. At the left of Mr. Schenck and Mr. Mayer in the picture are Darryl F. Xanuck, Jeanette MacDonald and George Jessel, master of ceremonies.

This Week In Pictures

Mary Pickford and her husband, Buddy Rogers, with Major Frank W. Bering, manager of the Hotel Sherman, Chicago, above, as host and hostess at a cocktail party at the hotel. Guests were informed by Miss Pickford of her intention to write a book about Hollywood this spring and summer while touring South America with her husband whose orchestra is booked for engagements in the Latin American countries.

J. J. Wessel, left, retiring chief barker, and Joseph J. Oulahan, newly elected to that office by the Cincinnati Variety Club, Tent No. 3. Mr. Oulahan's duties will revolve largely around the administration of a welfare program, under which films are supplied to orphans and hospital patients, and an iron lung, owned by the tent, made available for paralysis treatment.

March 5 , 1938

MOTION PICTURE HERALD

Don Turner and George Brent, left and right above, Warner Brothers players on vacation in Mexico, with Carlos Baz, manager of the Hotel Keforma, Mexico City.

Augustin Lara, left, Latin American composer , was brought to Hollywood from Mexico by Paramount to write the music for "Tropic Holi- day," according to the com- pany, after search for authen- tic Latin American music. The studio caption informs that Senor Lara composes "on the piano, chop-stick style," but says nothing of his method for the typewriter.

Hollywood yachtsmen who go to sea this season will sail under the command of Lee Tracy, RKO star, shown above receiving his ensign as rear commodore of the Pacific Writers Yacht Club from Max De Vega, fleet captain, and Tom Reed, commodore.

Projectionists, theatre sup- ply men and theatre man- agers, right, at a luncheon for P. A. McGuire, advertising manager of the International Projector Corporation for nearly 20 years, in the Hotel Lincoln, New York, at the conclusion of a five-day ex- hibit of the company's new combined sound projector. Guests at the speakers' table, left to right, are: F. H. Rich- ardson, of Motion Picture Herald; Mr. McGuire; Al Rosen, manager of Loew's State theatre, New York, who was toastmaster; Wally Byrne, business agent for Local 306, IATSE, and president of the American Projection Society, and Harry Oppenheimer, of Local 244, Newark.

12

MOTION PICTURE HERALD

March 5 , 19 3 8

U. S. WARNS OF THREATS TO HOLLYWOOD ABROAD

Rate of Increase of Film Exports Declines as For- eign Countries Aid Own Industry with Restrictions

"The problems of rising nationalism, of quotas, discrimination, subsidy, exchange restrictions and tariff barriers must be ad- justed "if the American motion picture is to operate on as wide a scale as heretofore in the world's markets," the United States Government officially warned this week, tak- ing cognizance of the various troublesome situations now facing American motion pic- tures abroad.

The accompanying table of exports of American motion pictures, negative and positive, shows that while there was an in- crease of 6,070,552 linear feet in 1937 over the preceding year, the increase was two-fifths less than for the year 1936 over 1935, when the gain had been 9,960,783 linear feet.

The Government's warning of widespread agitation aimed to supplant Hollywood films with those of foreign countries' own industries, follows publication last week in Motion Pic- ture Herald of the report of a "Pact of Four," involving Italy, Germany, France and England, was being negotiated to "freeze" American films out of the foreign market. The movement was discussed by Joseph D. Ravotto in dispatches from Rome, where Italian pro- ducers and press were reported openly discuss- ing the project, even though London, Berlin and Paris denied knowing of any such activity.

Building Own Industries

Apparently mindful that Hollywood motion pictures purportedly sell $100,000,000 worth of American manufactures abroad each year, a de- mand created in foreign markets after the arti- cles are seen in Hollywood films, the United States Bureau of Foreign and Domestic Com- merce, through its Motion Picture Division, this week completed a study which brought the conclusion that foreign countries' determination to establish their own producing industries threatened to cut down Hollywood film sales.

The Government offered no concrete plan for hurdling the barriers to the foreign markets, from which American distributors are variously estimated to have been receiving as much as 35 per cent of their total gross rental revenue. The Bureau predicts that "in their struggle to hold the high and richly deserved position which they have won abroad, American motion pic- tures will rely in the future as in the past on the qualities that foreign audiences have always so keenly appreciated — the qualities of story value, variety of theme and locale, fine acting by artists from every country, scenic investiture, technical proficiency, ingenuity in the devising of special efforts, and, in general, vivid humor and truly compelling drama, all combining to create engrossing entertainment which appeals to foreign audiences from Stockholm to Cape- town and from Valparaiso to Rangoon."

While, according to the Government esti- mates, American motion pictures were shown last year in more than 80 countries to the ex- tent of 70 per cent of all screen time, in some countries as much as 95 per cent, emphasis was

ITALIAN CURRENCY PAYS TRAVEL COST

A way to "export" some of the em- bargoed currency from Italy has been found by the foreign departments of the film companies. They buy trans- portation, both ways, for trips abroad for foreign representatives.

Mario Xama, Warner Brothers gen- eral manager in Italy, arrived here three weeks ago accompanied by C. L. Conradsen, manager for Warners in Scandinavia. Passage for both was bought in Italy and Mr. Conradsen went from Stockholm to Naples where he and Mr. Xama embarked for the United States.

After their visit here, which in- cluded five days in Hollywood, both men left Saturday on the Rex for the return trip, which was bought with Italian money before they sailed from Naples. Mr. Conradsen will go from Italy to Paris, thence to Stockholm.

Buying transportation in this man- ner is a common practice among American companies who cannot take their funds beyond the boundaries of Italy, it was said.

placed upon the increase of motion picture pro- duction in foreign countries.

In the past year, said the Department, for- eign production approximated 1,809 features, compared with 1,400 in 1936. The Far East and Near East led with 959 for 1937, an in- crease of 285 over 1936. Japan produced 500 films, India 350, China 52, the Philippines 32, Egypt 19, and Australia six.

Europe produced 760 features in 1937, or 30 more than in 1936. Of the 760 produced, the following countries made the largest contribu- tions : England 225, Germany 125, France 123, Russia 60, Czechoslovakia 47, Italy 37, Hun- gary 35, Sweden 25, Poland 20, Finland 14, Denmark 13, Australia 10, Belgium six, Portu- gal six, Norway four, Switzerland three, Ne- therlands three, Turkey two, Latvia one and Rumania one.

Production in Latin America in 1937 totaled 90 features, an increase of 34. Leading produc- ing countries were Mexico 52, Argentina 30, Brazil four, Peru two, and Uruguay and Cuba one each.

"With the increased restrictions imposed upon motion pictures by foreign governments," the U. S. report continued, "one discerns a marked tendency to prevent the motion picture from maintaining the truly international character or position which it has held for so many years. Hollywood still maintains its reputation for internationalism, as it knows no barriers in as- sembling the finest of talent and technicians from all parts of the world. In many foreign countries, bent upon establishing their own do- mestic film industry regardless of the methods employed, the motion picture screen is being

used primarily for the dissemination of nation- alistic propaganda.

Pressure by Governments

"Such policies sometimes react in the opposite direction, as evidenced in those markets which have created domestic industries to bolster na- tionalism. Exhibitors in some markets are forced by government decrees to hold domestic- made films for longer runs than the subject merits, despite the evident aversion to these films on the part of patrons. A striking revul- sion on the part of foreign theatre patrons might conceivably come about in 1938 ; they may become so surfeited with this type of propaganda film that they may act to induce their government to abolish quotas and foreign- exchange restrictions and thus permit Ameri- can pictures to be shown, so that they may get what they pay for when they go to the theatre, namely, good entertainment.

"The true character of the 'film industries' which ardent nationalistic interests are vainly striving to create in certain foreign countries may be vividly illustrated by brief quotations from two reports received in the U. S. Regard- ing the 'motion-picture industry' of one of the smaller (but important) western European coun- tries, we learn that 'production facilities are not adequate, and the industry is not only poorly financed but precarious, film producers leading what amounts to a hand-to-mouth existence. The technique of the local men is not com- parable with that shown in American films.' In a large country in southeastern Europe we find that 'the existing companies are small, poorly organized, and inadequately financed. Under such conditions they are unable to do any serious work. It is believed that most of them will eventually go out of business.' That, then, is the situation in two nations which are endeavoring, in a tentative and sporadic manner, to conjure up a film industry which would doubtless be inherently uneconomic."

The report on foreign barriers also said, "These 'totalitarian' trends in various areas have brought significant repercussions in the film business. The undeclared hostilities in the Far East, the civil war in Spain, and the unsettled conditions in other parts of the world have occasioned our American film distributors considerable concern and have unquestionably resulted in substantial losses of revenue.

"On the other hand, one may confidently and vigorously assert that American films retain a gratifying popularity with nearly all foreign audiences, that they are ordinarily received with admiration and enthusiasm, and that the spon- taneous demand for them is genuinely power- ful."

Restrictions Intensified

"Restrictions against film imports were con- siderably intensified by certain governments dur- ing 1937, and new quotas are looming on the horizon for 1938," the government report warned, citing England as the chief instance. "The workability of the quota legislation in Australia and New Zealand is something that only the next 12 months can answer."

"While Germany has a quota act, censoring is the real bugaboo in the distribution of Ameri- can films. Dual censorship is in vogue in that

{Continued on following page)

March 5 , 1938

MOTION PICTURE HERALD

13

PATRONS PREFER U. S. FILMS, BUT-

Rate of Increase of Film Exports Declines in Three-Year Comparison

Evidence of the effect of foreign quotas, censorship and taxation restrictions and rising nationalism, described by the Motion Picture Division of the Department of Foreign and Domestic Commerce in the accompanying article, upon exports of American motion pictures is shown in a three year comparison of footage shipped out of the United States. While there was an increase in 1957 over 1936, the total increase was considerably smaller than in 1936 over 1935. The tabulated comparison follows :

1937 1936 1935

Quantity- Feet Quantity- Feet Quantity- Feet

Negative —

Silent 3,038,623 2,143,939 3,025,950

Sound 9,586,631 9,904,111 8,890,598

Positive- Silent 2,851,039 1,695,980 2,206,235

Sound 200,245,663 195,907,374 185,567,838

Total 215,721,956 209,651,404 199,690,621

The increase of 1937 over 1936 was 6,070,5 52 linear feet, whereas there was a gain of 9,960,7%5 feet in 1936 over the year 193 5.

(.Continued from preceding page)

market. American films coming into Germany are subjected to the approval, first, of the Con- tingent Office, and subsequently of the Board of Censors. The former permits or disallows the entry of film simply on the basis of the personnel concerned in its production and dis- tribution. The Board of Censors reviews the film itself, approves or rejects it, requires cuts and alterations, etc. 'Dubbed' German text is also censored and must be approved by the Board. The entire German motion picture in- dustry has now been regimented under Govern- ment control. Subsidies are paid to producers from taxes and from contingent licenses to German film exporters. Regulations enacted now require that permission must be obtained from the Reich Film Chamber for the establish- ment of any new enterprises for the production, distribution, preparation, or performance of mo- tion picture films."

Favoring Domestic Companies

In a supplementary report, the Commerce Department cited still another Nazi decree by the Reich Film Chamber, by which producers in Germany in future will be entitled to increase their distribution rates beyond the present rates if the costs of a film are especially high. This increase, however, is subject to the approval of the Reich Price Commissioner who checks the calculation. The objective is to induce na- tive producers or distributors to undertake the making of "super-films" to remedy the situa- tion of German film business abroad, "which has been consistently disappointing."

In the first three months of 1937-38, there were 514 films shown in Germany. Of these, 449 were of German origin ; of the 65 films of foreign origin, 34 were American.

Restrictions in France

The Commerce Department warned also of the conditions in France : "New censorship regulations promulgated by the Government's Board of Censorship provide for the banning of films that might affect the prestige of the French Army or other governmental agencies, or provoke diplomatic incidents with foreign countries, or which show crime or criminals in such a way as to have an injurious influence on the minds of youth.

"It is understood that the French Ministry of National Education is preparing a film bill which would provide for cooperative control and operation of the motion picture industry. Cer- tain sections of this legislative measure are ex- pected to provide for the virtual nationalization of the film industry. The bill is said to include provisions for 'pre-censorship,' a 'dubbing' tax, a central film syndicate, a central cinema com- mission, and a central collecting agency, which would control all monies in the film industry, collect all revenues from the release of films, and, in reality, supplant completely the distribu- tors as they are now constituted. The deci- sions of these proposed dictatorial bodies would be absolutely binding on every person in the film industry. If such a measure were adopted, American companies would be confronted with great difficulties in France," in the opinion of the Bureau.

The report added that "on the whole the French people are beginning to prefer their own films in view of the marked improvement in French production during the past year, in which several notable successes have been re- leased in France." It emphasized, however, that American productions "continue to enjoy a decided preference over English and German films. At the present time German films arouse very little interest in France."

There were 182 "dubbed" films censored

from Jan. 1, 1937, to Nov. 23, 1937, listed as follows : German, 14 ; American, 140 ; Spanish, 2 ; English, 15 ; Austrian, 1 ; Russian, 3 ; Ital- ian, 3 ; Hungarian, 2 ; Polish, 1 ; Czech, 1.

Britain and the Quota

"As proof that an industry cannot be legislat- ed into being," the Department said, "one need only look at Great Britain. Ten years ago there was inaugurated a quota system designed to assist and promote a national industry. Dur- ing the past ten years Great Britain has pro- duced more films than ever before. But ordi- narily they were not of the type enjoyed by the motion picture public of the world. Seem- ingly, they were not even enjoyed by the British public. The result was that theatres, to stay within the law and meet their quota footage, were obliged to show these pictures at hours during the day when patronage was either nil or at its minimum.

"Great Britain during 1937 produced 225 fea- ture films, of which but a handful received world distribution, without which they cannot be financially successful. It might perhaps be best if the British producers would produce fewer pictures, whose chief ingredient should be quality and audience appeal, instead of con- centrating upon inferior quantity productions which have been given 'artificial respiration' through legislative quotas and contingent sys- tems."

In Mexico, the report continued, "taxes and labor limitations have militated against our American interests doing business in that market.

"There are intimations from Brazil of some sort of legislation which might affect distribu- tion of our films during 1938. Such develop- ments are rather disconcertingly common. Sev- eral other South American nations apparently contemplate attempts to legislate a domestic motion picture industry into being at the ex- pense of American interests.

"During 1935 and 1936, money embargoes were eased up to some extent, but 1937 saw a more stringent application of foreign-exchange

restrictions in many nations. Few markets of South America are without exchange-control restrictions. Restrictions in Europe on foreign exchange are often so drastic that it is virtually impossible to get money out of some of the markets. The same applies to Japan and China and other parts of the Far East."

The Commerce Department also pointed to Rumania, where "the distribution of American films is in danger of becoming complicated by difficulties over the payment of customs duties and income taxes."

The American Consul at Bucharest advised the Commerce Department that in accordance with a decision of the Ministry of Finance, the average value of motion picture films, including newsreels, on which the import, turnover, and luxury taxes are based, has been increased so that distributor-importers will pay a minimum of $940 per 100 kilograms for first copies, and about $450 per 100 kilograms for additional copies, to cover all import taxes, turnover taxes, communal and other minor taxes.

The Rumanian customs officials will have the right to examine the books of local distributors to determine what sums they have attempted or will attempt to transfer abroad on each picture, with heavy fines possible if the sum differs from the valuation given when the film was cleared through customs.

Censorship in Balkans

"In the Balkan Peninsula, as elsewhere, censorship troubles frequently obtrude," the Commerce report continued. "To cite a single example, one finds that in Greece, whose gov- ernmental system is now strongly authoritarian, one may expect prompt banning of motion pic- tures that are even remotely connected with political or social revolutionary movements of any nature, and the prohibition normally ap- plies even to historical films portraying events in the French Revolution more than a century and a half ago."

On the other hand, so called "educational" films from America stand to benefit, a. total of

(Continued on following page, column one)

14

MOTION PICTURE HERALD

March 5 , 1938

CENSORSHIP AND TAXES FACTORS

(Continued from preceding page)

150 of this class having been set for importa- tion into Greece, duty-free, according to a new governmental decree.

"In Austria," according to the U. S. report, "there appears to be a movement for new re- strictions against American films. While no official information has been forthcoming, it is expected that the new restrictions probably will take the form of a law to provide for increased titling in Austria." This, said the Bureau, would make the market unprofitable for Ameri- cans.

Of 328 sound features shown in Austria in

1937, as against 343 in 1936, there were 128 American and 120 German, the attache reported.

The Czech Market

"Foreign exchange control, high import registration fees, a dual form of censorship, exorbitant taxes, and the question of the right of American companies to do business in Czech- oslovakia, combine to make that market a con- stant source of anxiety and vexation to Ameri- can film distributors," according to the Com- merce Department. "Some concessions may be received under the reciprocal- trade agreement now being negotiated between the United States and Czechoslovakia."

"In Egypt," it was said, "nationalistic feeling is still running high, and Egyptian producers are pressing upon the government their recom- mendations that legislation should be enacted for all theatres in Egypt requiring them to show a quota of Egyptian films, in order to en- courage the infant Egyptian film industry." It was expected that this proposal would not be favorably acted upon, because of the lack of facilities.

Italian Agreement Expiring

Turning to Italy, the Bureau noted that the agreement between the American film com- panies and the Italian government permitting the importation of 250 American films and the right to export 20,000,000 lire expires in June,

1938. "Whether this agrement will be extend- ed remains to be seen.

"Up until July, 1937, theatres in Italy were compelled by law to show one Italian picture for every three foreign films. A Ministerial de- cree of July, 1937, changed this, and the ratio has been reduced to one Italian picture for every two foreign pictures. In Italy all films must be 'dubbed' in the Italian language, and such 'dubbing' must be done in Italy.. The tax on 'dubbing' has been increased."

The Commerce Department also warned that in Argentina "there is a possibility that the In- stitute Cinematografico Argentino, an official agency created in 1935, empowered to regulate all phases of the film industry in Argentina, will propose some sort of quota or contingent law."

The Commerce Department found "the Japanese market for American films threatened with several discouraging factors."

"After the present supply of American pic- tures already placed in that market is used up, it is not improbable that Japan will cease there- after to be a field of importance to the Ameri- can industry. With Japanese occupation of cer- tain parts of China, restrictions on American motion picture activities paralleling those in Japanese-controlled Kwantung Peninsula and in 'Manchukuo' may be imposed in those areas of China also. Films restrictions and an embargo on the shipment of monies were put in effect in Japan in September, 1937."

Cable advices from the American Commercial Attache at Shanghai said up to August, the in- dustry had enjoyed a substantial increase over

THREE-WAY TOURIST UNION CONTEMPLATED

The suggestion of Propaganda Min- ister Goebbels of Germany, that his country and Japan cooperate toward booming tourist trade in the two countries has met with approval in Japan. As a result the Japanese board of tourist industry is undertaking to exchange "cultural" and travel films as a means of cementing still further the ties that bind the three co-signa- tories of the Anti-Comintern Pact. The board is seeking to obtain Italy's consent to the formation of a three- nation tourist union to further the plan.

It already has been decided to send to Germany some of the features pro- duced by the board.

In return, Germany plans to send a number of propaganda films to Japan.

An invitation has been sent to Italy, asking it to join in the proposed union. If an encouraging reply is re- ceived, the board expects to open a branch office in Rome, similar to its office in Berlin.

the preceding year but since then business had fallen off approximately 50 per cent.

An income tax on earnings derived from the exploitation of motion pictures by foreign enti- ties or individuals not domiciled in that coun- try has just been imposed in Colombia.

According to the commercial Attache in Guatemala, the President there has approved an executive order requiring that all individuals or companies desiring to take motion pictures in the country must obtain authority from the Ministry of Education.

The Netherlands India Film Censorship Commission announced that the exhibition of newsreel scenes of military, naval or air force operations connected with the Sino-Japanese conflict would not be allowed, the Government Bureau said. There is a large local Chinese population.

'IT Adds Million To '37-38 Budget

Nate Blumberg and Charles R. Rogers, president and production executive of Uni- versal, announced on Wednesday the addi- tion of $1,000,000 to the budget for the re- mainder of the company's 1937-38 schedule.

Five specials have been set for monthly release starting in May, "Halfway to Shang- hai," "Suspicion," "Rage of Paris," "My Letter of Introduction," a John M. Stahl production with Edgar Bergen and Charlie McCarthy, Andrea Leeds and Adolph Men- jou, and "That Certain Age," Deanna Dur- bin's next picture.

Japanese Select Ten Best Sellers

by HIROMU TOMINAGA

in Tokyo

A poll conducted recently by Kinema- Jumpo, national Japanese motion picture journal, to determine the ten best boxofnce pictures of the year resulted in the selection of nine American films and one French fea- ture. The selections were : "Charge of the Light Brigade," "The Good Earth," "Michael Strogoff," "Lost Horizon," "Port Arthur," "The Plainsman," "Swing High, Swing Low," "Shall We Dance?" "Souls at Sea" and "Les Bas-fonds."

The films were selected from those which had run two or more consecutive weeks on first run release and which had proved good attractions not only in those situations but in subsequent runs.

In another poll conducted among 30 lead- ing film critics of Japan to determine the ten most outstanding productions, apart from their boxofnce value, the following in the order of their selection, were named: "La Kermesse Heroique," French; "La Belle Equipe," French ; "Les Bas-fonds," French ; "Dodsworth," American; "Make Way for Tomorrow," American; "Club de Femmes," French; "The Good Earth," American; "Le Golem," Czecho-Slovakian ; "You Only Live Once," American, and "Fury," American.

The critics also named the following as the ten best Japanese productions : "Kagiri- naki Zenshin" ("Endless March"), "Sohbo" ("The Peoples"), "Aiyenkyo" ("Love and Hatred"), "Kazeno Naka-no Kodomo" ("Children in the Wind"), "Hadakano Machi" ("The Naked Town"), "Wakai Hito" ("The Young"), "Ninjo Kami-Fusen" ("A Loving Paper Balloon"), "Shukujo Wa Nanio Waseretaka" ("What the Lady Left Behind"), "Osaka Natsu-no Jin" ("The Summer Battle of Osaka") and "Asakusa-no Hi" ("The Light of Asakusa").

Hutchinson Says Latin Films Compete with U. S. Product

W. J. Hutchinson, foreign manager of Twentieth Century-Fox, due in New York March 8th from a seven-week trip of South and Central America, has advised the home office that Spanish language films are offer- ing increased competition to American product in Latin America.

The domestic product has cut so deeply into the revenue of foreign distributors that some arrangement will have to be made whereby the playtime situation can be better controlled, Mr. Hutchinson said.

There has been a considerable growth in the independent distribution of film made in Mexico and South America which, while sold on low terms, are doing outstanding business, due to the public's increasing sup- port of films with a domestic flavor and in the native language, and this is making the market more difficult, it was said.

March 5, 1938

MOTION PICTURE HERALD

15

NOW COME EDUCATORS WITH PLEA FOR FILMS OF "SOCIAL INSIGHT

Group Calling Selves "In- stitute for Propaganda Analysis" Accuse Producers of Using "Stereotype" Stories

A new group of first-rank educators, calling themselves the Institute for Propa- ganda Analysis, headquartering in the region of Columbia University in New York, this week set out to tell the motion picture indus- try what to do.

The Institute demands that the screen should take up the burden of developing social insight and illuminating human prob- lems.

Charging thai- Hollywood producers are holding back the development of good taste, that their "stereotype" screen stories fail to give a realistic view of life, the edu- cators called for motion pictures having "social significance." "Excuses" by pro- ducers that such product has questionable mass box office value were met with the citation of evidence of pictures having both social significance and box office success.

The Institute for Propaganda Analysis, Inc., of 132 Morningside Drive, New York, was formed by educators last September, "to help the intelli- gent citizen detect and analyze propaganda." Propaganda, according to the Institute's idea of the general conception, is "an expression of opin- ion or action by individuals or groups delib- erately designed to influence opinions or actions of other individuals or groups with reference to predetermined ends." The motion picture is charged with advancing "popular stereo- types which can play significant parts in con- scious or unconscious propaganda," and which "stereotypes" are described by the Institute as follows :

"Stereotypes" Listed as Faults

1, The successful culmination of a romance will solve most of the dilemmas of the hero and the heroine. What young lovers are going to live on in a world of insecurity and unemploy- ment reaches the screen only rarely, as, for ex- ample, in 'Gentlemen Are Born.'

"2. Catch the criminal and you solve the crime problem. Only rarely does a movie give us some insight into unemployment, slums, in- security, as causes for crime, notable exceptions are 'Dead End,' 'The Devil Is a Sissy,' and 'I Am a Fugitive From a Chain Gang."

"3. War and the preparation for war are thrilling, heroic and glamorous. For one 'Broken Lullaby,' 'All Quiet on the Western Front,' or 'The Road Back,' we have had dozens of films such as 'West Point of the Air,' 'Annapolis Farewell,' 'Flirtation Walk,' 'Shipmates Forever,' 'Here Comes the Navy,' 'Devil Dogs of the Air,' and 'Navy Blue and Gold.'

"4. The good life is the acquisitive life with its emphasis on luxury, fine homes and automo- biles, evening dress, swank and suavity. Note, for example, the economic level of residences shown in a random selection of 40 feature mo- tion pictures. Of the 228 different residences appearing in these movies, 22 per cent were classifiable as ultra-wealthy, 47 per cent as wealthy, and 25 per cent moderate. Only four per cent were shown as visibly poor. . . .

"5. Certain races, nationalities, or minority groups are comical, dull-witted, or possess traits

A NEW KIND OF COMPLAINT

American films were blamed as one contributing cause to a lack of national unity in Canada when M. E. Nichols, managing director of the Vancouver Daily Province addressed the Can- adian Institute in Vaucouver, B. C.

Mr. Nichols said that unintentional propaganda from the United States was making a spirit of national unity im- possible in Canada. He attributed this to American motion pictures and magazines.

that mark them as greatly different from and inferior to native white Americans. We see this in the portrayal of the Negro in roles of inferiority, in the monocled and simpering Englishman. Studies of the stereotypes held by college students show that many influences have been at work in producing grossly inaccu- rate portraits of races and nationalities."

Issues Monthly Letter

The Institute publicizes its theories through a monthly letter, "circulated privately to edu- cators and students, publishers and journal- ists, business men and trade unionists, minis- ters and welfare workers, and to all who desire periodic, objective appraisals of today's propa- gandas, their sources and the channels through they flow ; newspapers, magazines, radio sta- tions, motion pictures, labor and business groups, patriotic societies, farm organizations, schools, churches, political parties."

The Institute's sponsors, board of directors and advisory board, all in one, are composed of the following:

Charles A. Beard, American historian ; Frank E. Baker, President of Milwaukee State Teachers College ; Percy S. Brown, Good Will Fund ; Hadley Cantril, Associate Professor of Psychology, Princeton University ; Edgar Dale, Associate Professor of Educa- tion, Ohio State University ; Ned H. Dear- born, Dean of the Division of General Edu- cation, New York University; Paul Douglas, Professor of Economics, University of Chicago ; F. Ernest Johnson, Professor of Education, Teachers College, Columbia University ; E. C. Lindeman, Professor of Social Philosophy, New York School of Social Work; Robert S. Lynd, Professor of Sociology, Columbia Uni- versity ; Kirtley Mather, Professor of Geol- ogy, Harvard University ; Ernest O. Melby, Dean of the School of Education, Northwest- ern University ; Clyde R. Miller, Associate Professor of Education, Teachers College, Columbia University; James T. Shotwell, Professor of History, Columbia University ; Robert K. Speer, Professor of Education, New York University.

Officers are Hadley Cantril, president ; Er- nest O. Melby, vice-president ; Clyde R. Miller, secretary, and Robert K. Speer, treasurer, all members of the directorate.

The officers and directors charged that today, in press, radio and motion pictures, 'America is beset by a confusion of conflicting propa- gandas, a Babel of voices, warnings, charges, counter-charges, assertions, and contradictions assailing us continually."

The Institute turned to the motion picture as one of the first media of public expression

to be "examined" and "revealed for what it is," and the basis of the Institute's conclusions were that "the movies, like great literature and drama, should enlighten as well as entertain," and should contribute "something to people's understanding of themselves and of the world in which they live."

"The motion picture, while giving people enjoyment through fantasy, gives this enjoy- ment within the framework of commonly ac- cepted stereotypes and thereby exerts an in- fluence which tends to strengthen them and to prevent criticism of them. Only in rare in- stances is it an agency for illuminating prob- lems of human conduct, for developing social insight, for encouraging a review of our be- liefs and customs, of our modes of govern- ments, and of the relationship between peoples and races.

"Stock Responses"

"Contenting themselves with evoking stock responses to such stereotypes as those listed, the motion picture producers provide few films which give opportunity for other responses. Eight major producing companies dominate the industry. They are influenced not alone by the stereotypes common to America but to the censors of foreign countries.

The Institute asserted that "an easy, quick and partially valid reply to the charges of em- phasis on certain stereotypes is that such em- phasis is essential to profitable mass appeal. Yet this answer is too facile. We know that such motion pictures as 'Dead End' (United Artists), 'The Story of Louis Pasteur' (War- ners), and 'The Life of Emile Zola' (War- ners) have played profitably to huge audi- ences. We know that the policy of Warner Brothers in producing clarifying social docu- ments such as 'They Won't Forget,' 'Black Legion,' 'I Am a Fugitive,' has met with finan- cial success.

Example of Literature Cited

"To ask that the motion picture should con- tribute to social enlightenment is to ask no more than that it should do something which has always been done by great novelists and dramatists. It is asking that the motion pic- ture industry should do more of what it has already done so well in such films as 'The Life of Emile Zola.' The success of such films proves that public taste is capable of appre- ciating films of much greater social value than the majority that are produced by the indus- try. Here the student of propaganda must ask why the industry seems to lag behind, and even to hold back, the development of public taste. He might also ask whether the praise that has been given to the motion picture by some distinguished men in the industry on the grounds that it allayed social discontent, was not perhaps a factor in the situation."

Turning to newsreels, the Institute said, "In spite of criticisms, a careful examination of newsreel content over a period of years chows that they have presented unbiased factual in- formation on many current controversies."

The Institute said that financial support for its start was forthcoming from Good Will Fund, Inc., a charitable corporation financed by the late Edward A. Filene, Boston depart- ment store owner and philanthropist. The In- stitute hoped "that eventually the Institute will be self-supporting. Income from the sale of its letters (issued monthly at $2.00 the year), and donations from organizations and individ- uals will be used to increase the scope of its research and permit it to issue special letters or bulletins when occasions warrant."

16

MOTION PICTURE HERALD

March 5 , 1938

EXHIBITORS DIFFER ON Licensing Bill

Seen Injurious To All Business

BLOCK BOOKING BILL

Ohio Independents Commend Neely Measure; New York ITOA Calls It Impracticable

Contrary viewpoints on the possible value of the Neely anti-block booking bill, pend- ing in the Senate, were expressed this week by two exhibitor organizations, the Inde- pendent Theatre Owners of Ohio and New York's Independent Theatre Owners Asso- ciation.

In Washington, opponents of the meas- ure gathered their forces for an attempt to prevent enactment of the bill during the current session of congress by seeking to have the legislation recommitted to the commerce committee.

Support for the legislation, introduced by Matthew Neely, senator of West Vir- ginia, was urged in a service bulletin issued by P. J. Wood, secretary of Ohio's ITO. The New York group attacked the proposed law, calling it legislation which would "add cost and give us a headache."

It was also disclosed in Washington this week that a nationwide anti-trust attack upon the motion picture industry, involving cases in every exchange district, may be undertaken within the next few months by the Department of Justice.

The inquiry, based on hundreds of complaints which have been filed with the department, was directed principally to the block booking situ- ation and particularly the inability of indepen- dent exhibitors to secure first-class films.

While refusing to discuss the matter in detail, officials of the department indicated that many weeks would be required for the study of the field agents' reports and the development of any campaign which may be undertaken as a result. However, it was said, the inquiry has been general, and conditions in practically every ex- change territory have been studied.

Other developments on trade practices were :

The holding of hearings by the senate judi- ciary committee on the revised Borah-O'Ma- honey bill, which is designed to eliminate viola- tions of the anti-trust laws by licensing all corporations, including film companies, engaged in interstate commerce ;

The adjournment of a hearing on Para- mount's idea for an injunction to prevent en- forcement of North Dakota's theatre "divorce- ment" law, the effective date of which was postponed from March 15th to March 22d;

Settlement, for $3,000, of an anti-trust suit brought by George Fuller of Pensacola, Fla., against seven film distributors.

Objectors to the Neely bill are expected to take advantage of the opportunity afforded by the failure of the commerce committee to hold hearings on the bill before reporting it, said Francis L. Burt, of the Motion Picture Her- ald bureau in Washington.

In reporting the bill, the committee relied upon the testimony taken at hearings two years ago. Opponents of the measure will contend that the committee should have made a further study to determine whether the evils of which it then complained had been eliminated by the film industry.

Mr. Wood, in his bulletin, pointed out that adoption of the legislation "would not prohibit exhibitors from buying in blocks, if they so desire."

The New York ITOA predicted the bill will

never become a law ' and declared that there are not 10 exhibitors in the United States, inde- pendent or otherwise, who are interested in block booking." The organization said exhibi- tors want to buy a known quantity but declared the provisions in the Neely bill are imprac- ticable.

Would Require Licenses

Licenses, under the Borah-O'Mahoney bill, would be required for all corporations which, by themselves or in consolidation with their subsidiaries, have assets with a book value of more than $100,000. The licensing provision would be become effective on January 1st, of the year following enactment of the measure.

To obtain a license, a corporation would be required to report to the Federal Trade Com- mission all details of its organization and finan- cial structure ; the character of its transactions in interstate or foreign commerce ; the terms, position, rights and privileges of the various classes of its outstanding securities ; bonded in- debtedness, and other details of its securities ; contracts with promotors and with financial in- terests with respect to the organization of man- agement, and service contracts ; the amount of each class of stock held by each officer and member of its board of directors ; its stock in- terests in any other corporations, and such other information as may be required.

The bill would eliminate control of corpora- tions by persons not financially interested in them.

The bill was designed by its authors, Sena- tors William E. Borah, of Idaho, and Joseph C. O'Mahoney of Wyoming, as a vehicle to give full effect to the anti-trust laws. Adoption of the bill, the two senators said, will make un- necessary the proposed revision of anti-trust statutes.

First witness before the committee at the opening of its hearings Tuesday was Elmer T. Cunningham, former president of Radio Cor- poration of America Manufacturing Company, appearing on behalf of the National Association of Manufacturers.

Enactment of the bill, Mr. Cunningham warned, would result in retarding recovery and increasing unemployment at a time when all efforts should be directed to the encouragement of business.

The former RCA officer dissected the bill, showing that the failure of licensed concerns strictly to adhere to the rigorous conditions which are to be laid down would result in revo- cation of license, a punishment, he said, of stock- holders and employees for the acts of individuals over whom they have no control.

Injunction Petition Up Monday

Paramount's petition for an injunction, pre- venting enforcement of the North Dakota di- vorcement law, is now scheduled to be heard by a three-judge federal statutory court at Fargo next Monday. The distributor and its subsidi- aries, American Amusement Company and Min- nesota Amusement Company, contend that state law violates the federal constitution.

Allied States Association sponsored the law which, if it becomes effective, will affect ten theatres operated in North Dakota by the two Paramount subsidiaries.

In addition to seeking the temporary injunc- tion, Paramount has instituted an action to de- termine the constitutionality of the law. Louis B. Schwartz, counsel for Allied Theatres of the Northwest, and Abram F. Myers, board chairman and general counsel of Allied States, have been appointed special attorneys general to aid the state in defending the action.

The pending O'Mahoney-Borah Bill for Federal licensing of business organizations, including motion picture companies, "would foist upon American industry bureaucratic regimentation without parallel except in Fascist countries," James H. R. Cromwell, co-author of "In Defense of Capitalism," said at the "Town Meeting of the Air" last Thursday. Speaking on the same program with Senator Joseph C. O'Mahoney of Wis- consin, Mr. Cromwell declared that the pro- posal aimed to use the licensing device "to remake our economic structure."

"Pop-Gun to a Cannon"

"The old N.R.A. was a pop-gun to a cannon compared to the sweeping powers conferred upon the Federal Trade Commission under the projected laws," Mr. Cromwell said. "The N.R.A. could police, regulate and enforce vari- ous trade practices voluntarily agreed upon, but it had no power to forbid new or existing en- terprise, or to force any business to a full-stop because of some real or technical violation.

"The fact that the Federal Trade Commis- sion may bring within its jurisdiction persons not engaged in interstate commerce if they are competing with corporations federally licensed, thus drawing even local enterprise into the orbit of federal control, is final proof of how com- pletely the present scheme seeks to control economic life in America.

"This measure seeks to direct the flow of virtually all business and enterprise in the United States through the bottle-neck of an omnipotent Federal Bureau."

Industry in Goose-Step

Mr. Cromwell then contrasted the objectives of the bill and its provisions, adding:

"There can be no one sweeping law or plan to regulate the entire economic life of a great nation like this. The living principle of the American system is free enterprise. Certainly there are maladjustments and abuses in our economic system. Surely reforms are needed. But our problems flow from fundamental causes. They cannot be solved by fiat of bureaucracy or by legislative edicts."

Even if one granted that "bureaucrats" might be found to run business better than business men, Mr. Cromwell argued, "the question still re- mains whether American industry should be regimented and taught to goose-step, or whether it should be given opportunity to create new industries, develop new inventions, initiate new enterprises, and find new services, without which the solution of our employment and other economic problems cannot be achieved."

Little Business Man Hit First

Mr. Cromwell declared that "you cannot shoot at business in general without hitting the most vulnerable, and it's the little business man who is likely to get hit first."

The economic system, he said, needs food, not stimulants ; hope of reward, not fear of pun- ishment, should be used to raise the produc- tivity of the system.

"I do not seek to underestimate the serious- ness of the problems," Mr. Cromwell declared, "but it would be folly to adopt a remedy which is worse than the disease."

He concluded with the observation : "Since eternal vigilance is the price of liberty, let us never forget that democracy has perished wher- ever economic freedom has been destroyed."

March 5, 1938

MOTION PICTURE HERALD

17

NEW MOVE IN CONGRESS FOR U.S. STAGE BUREAU

Admissions Levy Is Discarded by N. Y. Legislature

A suggestion that the two per cent tax on utility incomes in New York be voided and instead a two per cent levy on theatre ad- missions be voted was discarded when the State Senate this week passed the utility impost with but two dissenting votes.

Juveniles and Toronto

In Toronto, an alternate proposal for relief from the complete ban on juvenile attendance in film theatres of Quebec has been presented to the legislature in a form of a recommendation that the age limit be reduced from 16 to 10 years. In Louisiana, Governor Richard W. Leche is understood planning to submit recom- mendations for the enactment of a two per cent sales tax to finance social security and relief to the legislature when it reconvenes in May.

In St. Louis, Mo., at a recent conference be- tween the chairman of the Board of Aldermen's 10 committees and Mayor Bernard F. Dickman it was decided to do nothing with the four revenue raising bills that have been pending in the board since last spring until the end of the present session when the state of city finances will be known. In Virginia, Senator A. L. Bivens of Newport News introduced a bill into the state legislature requiring projec- tionists to be licensed, and to undergo examina- tion before a board.

In Manila, the Philippine legislature is con- sidering four bills incorporating tax proposals affecting the industry, while in Boston, Repre- sentative Francis X. Coyne said this week that he was writing letters to every Governor ask- ing for the introduction of bills requiring screen and stage players to file their real names. Rep- resentative Coyne has such a bill in the Massa- chusetts House. A hearing is to be held next week.

In New York Legislature

Senator Thomas F. Burchill of New York has two measures pending in the finance and taxation committee of the upper house of the state legislature. One places an impost of five cents per square foot on both outdoor and build- ing advertising by a State Traffic Commission.

Meanwhile, the Assembly cities committee met Tuesday in Albany, with a number of im- portant bill scheduled for consideration, includ- ing that of Assemblyman Robert J. Crews call- ing for a full crew of motion picture operators and projectionists in theatre booths in New York City and Buffalo.

The Reverend John B. Kelly, a personal rep- resentative of Cardinal Hayes of New York, wrote Senator John L. Buckley, chairman of the Senate commitee on taxation and retrench- ment, saying that "the chain store idea is a source of blessing to the vast majority of our citizens." While the chain store bill presented by Senator Schwartzwald seems to exempt chain theatres, producer-exhibitors feel its en- action would open the doors to amendment in subsequent sessions.

Buffalo territory Motion Picture Theatre Owners directed a brisk communication to Western New York legislators under the sig- nature of legislative chairman Julius H. Michael calling for defeat of the Rossi bill to provide a matron for each 35 children in a theatre.

The Assembly was scheduled to pass Gover- nor Lehman's taxation measures during the week, through Assemblyman Bernard J. Moran of Brooklyn, was known to be ready to speak in favor of stubstituting his five mills per foot tax on films for one cent of the gasoline impost.

Pepper-Coffee Bill for Bureau of Arts Is Subject of Senate Hearings

by FRANCIS L. BURT

in Washington

The Works Progress Administration has accomplished "thrilling achievements" which could be continued under Federal patronage of the arts as provided for in the Pepper-Cof- fee bill for creation of a permanent bureau of fine arts as part of the Federal establish- ments, a subcommittee of the Senate Com- mittee on Education and Labor was told Monday at the opening of hearings on the legislation.

The bill, introduced in the Senate by Senator Claude Pepper (Dem.) of Florida, and in the House by Representative John M. Coffee (Dem.) of Washington, is the same in intent as the measure written by Representative William I. Sirovich (Dem.) of New York, on which the House Patents Committee held lengthy hearings last month, but is less pretentious, providing only for a bureau in an established depart- ment instead of a separate Cabinet posi- tion. The Sirovich proposal, hearings dis- closed, was merely for a subsidy for the legitimate theatre.

Witnesses before the Senate group, with few exceptions, were the same persons who testified before the House committee. The "lead-off man" was Burgess Meredith, act- ing president of Actors Equity, who, de- crying the present state of the stage, served notice that the proponents of the legislation are prepared to conduct a "militant cam- paign" until their objective is achieved.

Would Supplant WPA Projects

Only through the adoption of federal patronage can the Government bring about the "preservation and development of Amer- ican culture," Mr. Meredith told the sub- committee. The proposed bureau, he ex- plained, would supplant the present WPA arts projects through which, he said, much has been done to revitalize the stage.

A large number of communications en- dorsing the measure have been received by the subcommittee, including a telegram from Robert Montgomery expressing the approval of the Screen Actors Guild, of which he is president.

Headliners testifying at the hearings in- cluded Lillian Gish and Jane Cowl, pre- senting their views as screen and stage players.

Urging the Senate to take advantage of the opportunity "of making a great con- tribution to the welfare of our country" and creating a basis for the "cultural enlighten- ment of the entire American people," Miss Gish declared the theatre has been given new life as a result of the arts projects of the WPA.

Emphasizing the need of Governmental action to aid the stage, Miss Cowl called

attention to the "strange fact" that Ameri- can artists give their abilities to every- body "yet are given assistance by no one but themselves."

The views of the musicians, authors and artists of the country were voiced by Roy Harris, Theodore Dreiser and Rockwell Kent, all of whom saw in the proposed bu- reau an opportunity for the Administration to give to those engaged in the arts the same sympathetic assistance as has been given those in agriculture and industry.

The motion picture industry has a stranglehold on amusements, the subcommit- tee was told by Orson Welles, New York director of numerous plays including "Ju- lius Caesar," "The Cradle Will Rock," and the WPA production of "Dr. Faustus."

In Richmond, Va., Mr. Welles told the group, he was forced to obtain a special permit to stage a show because of the hold that the film producers had on all amuse- ments in the city.

As at the House hearings, representa- tives of the WPA arts projects under Mrs. Hallie Flanagan staged a field day Tues- day, detailing to the subcommittee the activi- ties of the various projects.

Exhibitors Protest CanadaM usicLaw

Canadian theatre companies and exhib- itors are complaining that the Dominion Parliament did not provide relief for the film industry in the statute curbing the privileges of the Canadian Performing Rights Society, Ltd. (similar to the Amer- ican Society of Composers, Authors and Publishers), which was adopted without a dissenting vote and amid general applause in the House of Commons, Toronto, this week.

The measure, sponsored by W. K. Esling, prohibits the society from collecting its annual fee from restaurants, hotels, stores, and other minor places of business for the use of radio or gramophone instruments in such premises, whether public or not. Further, the society cannot now collect a fee for the use of music in skating rinks or sport structures, but the situation with respect to theatres has been left as before.

The new act disallows the claim of the Society to collect royalty on phonograph records on the ground that musical copyright for discs has been satisfied by the manufacturers of records before the marketing of the product. This is exactly the argument of the theatre men — that the imposition of a performing rights fee is a duplication of the score charge paid by exhibitors and that film producers had paid music royalty in the making of films

Meanwhile, Louis D. Frohlich and Herman Finkelstein of Schwartz & Frohlich, ASCAP counsel, left New York for New Orleans to prepare for the hearing there, which was scheduled to get under way Thursday, of ASCAP's action to test the constitutionality of the Florida statute prohibiting the music licensing society from operating within the state. E. C. Mills, ASCAP general manager, accompanied the attorneys.

18

MOTION PICTURE HERALD

March 5, 1938

WARNERS OFF AIR IN DISAGREEMENT; BROADCASTERS FACE NEW TAXATION

Studio Would Sign Another Radio Deal "If Given Con- trol Over Production of Program," Says Coordinator

Disagreement over production was seen in Hollywood this week as the reason for the announced cancellation of the radio program, "Your Hollywood Parade," which is pre- sented by Warner Brothers studios on Wednesday nights under sponsorship of the American Tobacco Company.

The program will go off the air perma- nently after the March 23rd broadcast, it was announced simultaneously by Warner Brothers and Lord & Thomas, advertising agency handling the tobacco company ac- count.

No formal announcement of the reason for discontinuing the program after the 16th broadcast was made, but Bob Tap- linger, studio publicity director and radio coordinator, said the studio would sign an- other radio deal "if given control over pro- duction of the program."

Under the Warner Brothers-American To- bacco Company arrangement the production lineup for the program was under a dual control system, the studio participating on one end and the tobacco company and the advertising agency on the other. Tom McArity is radio production head of Lord and Thomas.

Ends Warner Participation

It was generally believed that the program would be continued after the advertising agency exercised its option on the "parade" time on the network, but this action, it was pointed out, is the usual practice of a large agency holding advantageous spots on the air. Agen- cies, it was explained, are sometimes in a posi- tion to act as brokers of radio time and are given concessions in matters such as short can- cellation notice period.

Had the American Tobacco Company decided to abandon the Wednesday night time entirely, the advertising agency could have switched the spot to any other client or could have made a deal with a new client seeking such time.

Kay Kyser's "Musical College," also spon- sored by the tobacco company, will take over the time occupied by "Your Hollywood Parade." The Kyser show is currently on the Mutual Broadcasting System and a possibility was seen that the show may double up on the two networks, NBC and Mutual. The sponsor is now seeking a program to replace the Kyser show on Mutual, if none can be found, the tobacco company, which used "Your Hollywood Parade" to advertise Lucky Strike cigarettes, will keep the Kyser program on both net- works, as a cancellation of the Mutual time is not being considered.

Mr. McAvity, who also acts as production head of the advertising agency's "Mickey Mouse" program on Sunday afternoons, said this week that officials of the Pepsodent Com- pany, sponsor for the show, will not make a definite decision for two weeks as to whether the Walt Disney characters will remain on the air after the March 27th broadcast.

The Warner Brothers program was the second coast to coast show produced in coopera- tion with a motion picture studio, the first being "Good News of 1938," which is offered Thurs-

DR. BUTLER VISIONS NEW USE FOR RADIO

Dr. Nicholas Murray Butler, presi- dent of Columbia University, this week appointed a committee of seven Co- lumbia officials "to consider all phases of radio with reference to courses of study, to broadcasting on the part of the university, or any groups or parts of it, and to the relation of radio to the educational services of the univer- sity."

Carl W. Ackerman, dean of the school of journalism, was named chair- man by Dr. Butler who declared that "radio today is the most important in- strumentality of public communica- tion."

"It may well be as valuable to the people as an agency for the diffusion of knowledge as it is today in the dis- tribution of information and in spread- ing appreciation and understanding of the cidtural and industrial arts" Dr. Butler said.

day nights by Metro-Goldwyn-Mayer under sponsorship of Maxwell House Coffee.

Louis K. Sidney, MGM executive, who has charge of the radio show, visited New York this week but declined to comment on the status of the program. The purpose of his visit, he said, was "to confer on home office matters."

The present contract for the program has about a month to run, Benton and Bowles, the advertising agency handling the series, an- nounced in reply to queries as to whether the contract will be renewed.

George Jessel has left his post as production advisor and writer on the MGM show, to make a personal appearance tour with members of his own Mutual air show troupe. He plans to open April 15th, at Detroit, and to travel throughout the east for seven weeks.

20th-Fox Radio Previews

Two Twentieth Century-Fox productions will be previewed on radio programs this week. Helen Westley, who appears in the Shirley Temple musical, "Rebecca of Sunnybrook Farm," will be interviewed over the Mutual System Thursday night and "Sally, Irene and Mary," will be previewed on the "Hollywood Hotel" program over the Columbia Broadcast- ing System Friday night.

The production of radio shows by film com- panies and the broadcasting of screen plays was condemned by members of the Independent Theatres Association of Ontario in a resolution stating that "this type of competition forced on independents by Hollywood producers is plac- ing an unwarranted strain on the theatre busi- ness."

Albert Warner Robbed

Theft of jewelry valued at $90,000 was reported to Miami Beach police this week by Albert Warner, vice-president of Warner Brothers. The thief gained entrance to the Warner winter home through a second floor window. The jewelry was insured.

House Subcommittee Prepares to Hold Hearings on Bill That Would Cost Stations Five Millions a Year

In line with the recent declaration of Frank R. McNinch, chairman of the Federal Communications Commission, that "radio should pay its way," the tax subcommittee of the House of Representatives Ways and Means Committee this week prepared to hold hearings on a bill which would tax broadcasting stations an estimated $5,000,000 to $7,000,000 annually.

At the same time, Representative W. D. McFarlane, of Texas, predicted the bill will not be acted upon at the current session of Congress unless it is included in the pend- ing tax revision bill.

Mr. McFarlane's opinion was expressed in conjunction with his charge, entered in the Con- gressional Record, that administration leaders and members of the House Rules Committee, despite general knowledge that conditions in the radio industry are close to monopoly, have done nothing to further the proposed investigation of the situation.

Sees 140 Millions Profit

The Texas Representative declared : "It seems strange that a private association, the Ameri- can Society of Composers, Authors and Pub- lishers, can levy and collect yearly a tax of some $5,000,000 or more on these holdings of radio licenses, and yet these same radio licenses do not pay one dollar in tax or license fee for the right to operate these governmental grants, from which they yearly derive $140,000,000 for advertising."

Under the bill to be considered by the Ways and Means subcommittee, radio stations would be taxed according to the power authorized by the government. The measure was introduced by Representative John J. Boylan, of New York and is supported in principle by Mr. Mc- Ninch.

The rates proposed are as follows : "For every station authorized to use not in excess of 1,000 watts, $1 for each watt author- ized.

For every station authorized to use in excess of 1,000 watts and not in excess of 10,000 watts, $2 per watt for each watt authorized.

"For every station authorized to use in excess of 10,000 watts, $3 per watt for each watt authorized."

Target in New York State

The radio industry proved the target of pro- posed legislation and taxation in New York State too. John T. McCall, senator of Man- hattan, introduced a measure to put the indus- try under supervision of the Public Service Commission. Revenue from radio utility and franchise taxes under the proposed law would amount to between $8,000,000 and $9,000,000 annually, Mr. McCall estimated.

Another New York bill affecting the radio industry was introduced by Julius S. Berg, senator, who seeks to have the libel law amended to include radio broadcasts.

In Canada, a widespread protest against a proposed increase in the annual license fee for the operation of receiving sets resulted in an intimation from the Dominion Government that the Canadian Broadcasting Corporation will abandon the operating end of radio broadcasting.

n am a rich and Beautiful heiress, say mother collects tramps . that guy over there hap better sef mama. i hate

TRAMPS /"

CONNIE BENNETT TELLS ALL

I AM A HANDSOME AUTHOR IN DISGUISE. THAT GAL IS BEAUTIFUL [Bur CUCKOO. Hi toots/"

BRIAN AHERNE AS THE TRAMP

"THIS IS A FULL- LENGTH FEATURE SO

WHY SHOULD I ^WFA^JHORTS /"

" everybody shoulS\

WEAR STRAlGHT- UaCKETS IN 'MERRILY WE LIVE'/ ITS NUTS/

CONNIE'S CLOTHES / ARE SLINKY

"^HE SENATOR IS COMING TO DINNER^ AND I CAN DRIVE HIM CRAZY ALL \ BY MYSELF BUT WITH THE HELP OF

JAY SCREWY FAMILY " PoOR SENATOR/"

'> 1

BILLIE BURKE WILL SLAY YOU

'"MRS. KlLBOURNE is cukoo.'

SHE COLLECTS TRAMPS. I ADORE TRAMPS. THEY HAVE SUCH BAD MAN NERS . "

PATSY KELLY in a flip moment

"- and when Ann

DVORAK VAMPS BRIAN AHERNE CONSTANCE BENNETT GOES WILD WITH JEALOUSY.."

11 — then Everybody helps serve the tramp his break- fast in bed in the guestroom... "

J

THE

AUTHORS

fil PONT THINK I'LL EVER MAKE

SENSE AGAIN. DOCTOR.

MERRILY WE LIVE '

IS THE BEST TONIC FOR THE NATION / "

NORMAN

McLEOD

the

director

(who also did these cartoons)

THERE'S A DELEGATION OF SQUIRRELS OUTSIDE WHO CLAIM THIS HOUSE HARBORS THE BIGGEST COLLECTION OF NUTS EVER UNDER ONE ROOF. "

VERY GOOD MADAME /"

ALAN MOWBRAY as the butler

The Cameraman —

" Its a RIOT on ^

CELLULOID • THE FUNNIEST FILM EVER MADE /";

March 5, 1938

MOTION PICTURE HERALD

21

FILMS FOR 16 MM. PORTABLE SHOWS HINGE ON AVOIDING THEATRE FIELD

400 Circuits Have 500 Pictures Available, Largely from Inde- pendent and Foreign Sources; Control of Product Sought

by EDWARD HARRISON

The chief problem of the portable 16 millimeter film show, availability of pictures, is moving toward a solution, depending in part upon limitation of competition with theatres to a minimum.

There are approximately 14,500 motion picture theatres in operation in American cities, but many more than 14,500 com- munities do not have theatres. Traveling exhibitors, using 16 mm. and 35, mm. sound equipment, are meeting with considerable success in satisfying the entertainment wants of more and more of these showless towns, villages and summer resorts.

They are building up circuits embracing six or seven towns where they give shows once or twice a week. Four hundred or more such cir- cuits are in operation, according to Frank B. Rogers, Jr., eastern sales manager of H. A. DeVry, Inc., equipment manufacturer. These circuits are in every state of the Union, with the greatest concentration in Maine, Vermont, New Hampshire, Ohio, Illinois, Texas and Pennsyl- vania, in regions away from large cities.

Control of Circuits Sought

The establishment of roadshow circuits that can be controlled as effectively as Loew's or RKO controls its theatres is being studied by important elements in the field.

It's quite true that these roadshow men offer competition to established theatres. Nevertheless, users of portable 35 mm. equipment can get all the product they need from large companies while almost no major product in 16 mm. is available to them.

This situation seems likely to change soon. Films, Inc., which distributes Paramount, Uni- versal and Gaumont-British pictures in 16 mm., is seeking to determine whether product can be controlled so that competition with theatres will be at a minimum. Universal recently released ten features in 16 mm., including "Show Boat" and "My Man Godfrey," without the restrictions that previously made it almost impossible for roadshow men to obtain this type of production.

To a query on how soon 16 mm. theatres would be in operation, a distributor in that field said :

"The 16 mm. theatre is here. The roadshow man who gives a performance once a week in a Grange hall and then goes to the next town to put on a show there has established a 16 mm. theatre."

500 Features Available

Most features obtainable in 16 mm. are inde- pendent or foreign pictures. There are only about 500 features available but the number is increasing. Among more recent product ac- quisitions are ten of the old Art Cinema-United Artists releases, which Nu-Art Filmco is han- dling, and some of the Chesterfield-Invincible pictures, which W. O. Gutlohn has obtained. Mr. Gutlohn has a number of the old Monogram pictures on which substantial royalties are being paid. Other large factors in the rental field are Films, Inc., Bell & Howell, New England Film

SENATE THANKS LUCAS FOR WELFARE WORK

Arthur Lucas, president of the Lucas & Jenkins circuit, has been voted "thanks and appreciation" by the Georgia state senate for his long service as chairman of the State Board of Public Welfare and in particular for his work in preparing a recent re- port which brought about changes in conditions at the state hospital for the insane at Milled geville.

The resolution, which cited Mr. Lucas "for his able and conscientious conduct of the institutions in his charge and for his outstanding ex- ample of public spirit in refusing to accept any salary or expenses for the services rendered," was reported as "a tribute richly deserved" in the edi- torial columns of the Atlanta Journal and the Georgian.

Service and Ideal Pictures of Chicago. Besides these companies there are several hundred film libraries that rent pictures for portable shows. All distributors offer special rates to these operators, depending on whether the rental is for a day, week or month. A whole program may be rented for a week from Gutlohn for twenty-five dollars. This is the average weekly rate. A few libraries charge less. The in- dustry is trying to stabilize roadshow rentals at a weekly minimum, but without much success. Special features have special prices. Nu-Art Filmco is asking $40 a day for "Abraham Lin- coln" with Walter Huston, and Kodascope gets $24 a day for the "King of Kings."

One Circuit Has 15 Machines

Of the 400 or more roadshow men operating in both 35 mm. and 16 mm., some, like Russell C. Roshon of Pittsburgh, have fifteen equip- ments in operation. Others have one or two machines or four or five like the Cinesound Company of Bloomfield, N. J. The number of users of the 16 and the 35 mm. equipment is about equal now, but 16 mm. is gaining fast. There are fewer fire restrictions on the use of 16 mm. equipment, it is much more economical and is more easily handled. And there lately has been great improvement in the quality of the sound. When more major product is re- leased in 16 mm. there will be little use for 35 mm. by roadshow men.

Roadshow men give performances in schools, churches, Grange halls, summer camps and hotels, settlement houses, union halls, Elks clubs, fish and game clubs, and in numerous other places. Practically all private schools show motion pictures.

The school presents a special problem to road- show men because there are few pictures suitable for schools that are available to them. On the other hand an organization like Films, Inc., which handles major product, has several hun- dred regular school accounts. In some schools, films are exhibited during luncheon hours ; others have matinee shows. Schools generally pay roadshow men a flat sum to put on a show. Roadshow men usually hire a hall themselves

for $10 a night and take whatever profit or loss comes along. Sometimes they have percentage tieups with churches and other organizations.

Several thousand churches show pictures. Roadshow men can reap a harvest with good religious films. "King of Kings" has been a favorite booking in churches. Two Paulist fathers recently leased "King of Kings" from the library of Kodascope, which controls the film in 16 mm., and took it on a nationwide tour. The Harmon Foundation, formerly called the Religious Motion Picture Company, has a large stock of religious films.

There is a growing outlet in 16 mm. for foreign language pictures, labor films and con- troversial and topical features such as "The Spanish Earth," and " China Strikes Back." Garrison Films, specializing in this field, has many of the foreign language subjects available in 16 mm., including French, Russian, Spanish, Italian and German films.

Most 16 mm. distributors say that they are developing a new and growing field for motion pictures and that the industry therefore should help to develop the 16 mm. market by providing good pictures.

The "Free Show"

Recognition by small town merchants of the value of motion picture shows has led to an odd development. At the instance of roadshow men, merchants in small towns surrounded by a farm- ing community have joined in defraying the cost of a free film show as an attraction for the farmers to come to town. This type of show is known as a "tent" show. It is frequently an open air show and is most common during the summer. Merchants in one town bought a 35 mm. machine from DeVry. After a year the shows began to pay and the merchants got back their investment. Tent shows are most common in Illinois, Ohio and Texas.

Roadshow men play a considerable part in the life of many communities. In many towns they run midweek and Saturday dances after their shows.

To keep the patrons coming, they have had to employ chance games and other giveaways. One showman, who had lost his circuit, got it back by instituting Bank Night. These itiner- ant exhibitors use other exploitation devices that are routine with theatres, such as distributing handbills and putting up window cards. They generally avoid giving notice of shows in towns that have theatres.

Methods of Operation

It is comparatively easy to enter the roadshow business. Equipment manufacturers will advise on where to start a circuit and arrange for rental of halls and product. The roadshow man usually selects towns that have no theatres. He must be operator, bill poster, ticket collector, drive his own car from town to town, choose his product and do a hundred other things. It is not an easy life but he can earn several hun- dred dollars weekly if he builds up a good circuit.

One of the difficulties of the roadshow busi- ness is that the men often get poor prints with poor sound. A succession of poor prints can ruin a flourishing business. Reduction prints often vary with the laboratory.

On the other hand, distributors must guard against bicycling and duping of prints. This is quite common. In some instances prints are sold outright to roadshow men, who resell them to others. Distributors are trying to stop resale of used prints because this cuts into their busi- ness. They expect to do this by leasing instead of selling them outright.

22

MOTION PICTURE HERALD

March 5, 1938

REGENTS' UNIT VIEWING Censorship Moves

TWO REJECTED FILMS In lU- s- Cmada

Subcommittee Acting First Time on "Whirlpool," Sex Film, and Satire on Greta Garbo

The newly appointed subcommittee of the New York State Board of Regents meets in the projection room of the Department of Education's Motion Picture Division in New York Saturday to view two pictures on which appeals have been taken from denial of a license by Irwin Esmond, censor, con- sisting of Miss Susan Brandeis, daughter of Justice Louis D. Brandeis, George J. Ryan and Gordon Knox Bell, the Regents' sub- committee will view "Remous" (known also as "Whirlpool") and "I Vant to be Alone."

First Subcommittee Action

The subcommittee is functioning for the first time. In the past Frank P. Graves, commissioner of education, did the review- ing on appeals, and last month, following a change by the Regents, Chancellor Patrick Mangan and Regent William Leland Thomp- son reviewed "Nocturno."

Appeal from refusal to license "I Vant to be Alone" was filed by Bert Lewis, vice- president of Samjax Corporation, New York. According to the Motion Picture Di- vision, Samjax Corporation presented on Nov. 30, 1937, the film which, it said, had been passed June 28, 1927, as a silent pic- ture, entitled "Streets of Sorrow," with Greta Garbo in the lead role. Synchroniza- tion and dialogue had been added. Director Esmond takes the position that the film unduly burlesques Miss Garbo. Rejection was based on the grounds that it was "im- moral," "indecent" and "would tend to cor- rupt morals."

Re-edited Story

Mr. Lewis' appeal said that "this is a re- edited story featuring Greta Garbo, made many years ago. Originally the film was passed by the Censor Board under the title 'Streets of Sorrow.' With the exception of the dialogue the film is the same as the original, which had been passed. Nothing has been added, but the film was cut con- siderably." Review is sought on the further grounds that Samjax Corporation is willing to make corrections or eliminations recom- mended by the Board of Regents.

"I Vant to be Alone," following its rejec- tion late in November, was appealed, and Director Esmond personally saw the film. On Dec. 16, 1937, he rejected the appeal, saying the picture came within Section 1082, Education Law, and that it is obviously in- tended as a burlesque, ridiculing the said star of "Streets of Sorrow" . . . "and the serious conditions portrayed in that picture."

"Remous" Also Revised

The other film involved is "Remous." Hays, St. John, Abramson and Schulman of New York are attorneys for Arthur T. Mayer and Joseph Burstyn. Arthur Garfield Hays is expected to argue for the co-partner- ship following review by the board.

"Remous," a French-made film, was origi- nally presented in August, 1936, by Kurt

Laemmle. On Sept. 17, 1936, it was denied a license as being "indecent." The picture was materially revised and submitted for review Nov. 20, 1936, by Mayer and Bur- styn, who hold distributorship rights in New York State. Following granting of license, English titles were superimposed and the same two men applied for a license under the title "Whirlpool." A license was granted Feb. 23, 1937.

The petitioners concluded, then, that orig- inal eliminations were so important and vital as to destroy the value of the film and that "many of the cuts were arbitrary and unjus- tified." The petitioners again worked on film "with the purpose of restoring to some extent the value of the picture and its artistic in- tegrity." On Nov. 17, 1937, application was made for licensing of the second revised edi- tion of "Remous," containing several scenes heretofore eliminated by the Motion Picture Division. Attached to the appeal by Mayer and Burstyn are voluminous exhibits of fa- vorable notices on both "Remous" and its English version "Whirlpool," from critics in foreign newspapers.

The Motion Picture Division contends the picture comes within Section 1082 of the Education Law. Mr. Esmond said: "The story originally told of a sexually impotent young man, the sex frustration of his wife, her affair with an athlete, and the suicide of the crippled and impotent husband."

Some observers contend that in reality the review on "Remous" is an appeal from the action of the director in refusing to consent to the changes. Attorney Hays is expected to place weight on the fact that Sec. 305, 1930 Tariff Law forbids entry of treason- able or immoral books, pamphlets, paper and written advertisements.

At Albany word was received that Mayor Leach of Minneapolis had termed "backward and countrified" the rejection by Commis- sioner Graves of "The Birth of a Baby," on which the American Committee on Maternal Welfare, Inc., has filed a new appeal with the New York Board of Regents. In Minne- apolis the picture was playing at the Lyceum Theatre. It was directed by Al Christie and produced by Jack Skirball for Special Pic- tures, Inc.

Ben Cohen to Calcutta

Ben Cohen, former manager of Loew's Poli College, New Haven, Conn., will take charge of the Metro theatre in Calcutta in- stead of the new Loew house in Bombay, to which he originally was assigned. Adolph Buehrig will transfer from Calcutta to Bom- bay, where he will open the new Metro the- atre about April 15th. Mr. Buehrig, for- merly a Loew manager in Columbus, has been in India a year. Mr. Cohen sailed Wednesday on the Conti di Savoia to as- sume Mr. Buehrig's duties in Calcutta. Sam Badamo, manager of the Globe, Bridgeport, succeeds Mr. Cohen in New Haven. Harry Rose has been promoted from assistant man- ager at the State, Providence, to manage the Bridgeport house and has been succeeded by Maurice Druker, assistant manager of the Orpheum, Boston,whose place has been filled by B. George Fornell.

Two censorship bills were introduced in Massachusetts, a censorship bill was de- feated in Kansas, an Asbury Park (N. J.) newspaper referred to the reported move to establish state film censorship in New Jer- sey "a political maneuver," and the bill for the reorganization of the Quebec censorship board awaited the approval of the Lieuten- ant-Governor -in -Council before becoming law, this week.

Of the two bills introduced in Massachu- setts, one would set up a "commission" to censor pictures; the other would transfer film jurisdiction from the Department of Public Safety to the Department of Educa- tion, where a film division would be estab- lished. Charges of $3 a reel for the first prints of films and $2 a reel for extra prints would be made.

Films with any parts that were obscene, indecent, immoral, inhuman, sacrilegious, or which tended to incite crime or corrupt morals would be banned. Court appeals might be made. Newsreels, scientific, edu- cational and religious shows might be ex- cepted at the discretion of the reviewers. A public joint hearing is to be held later this month.

The Committee on Federal and State Affairs of the Kansas Senate killed the cen- sorship bill which would have given the existing state censor power to eliminate sweepstakes and gambling scenes from news- reels. The special session of the legislature will adjourn Friday.

Commenting on the reported New Jersey film censorship, the Asbury Park Press said: "Now they are talking of a state board of censors to decide what motion pictures we may view. Patently, of course, a high- minded zeal for decency on the silver screen is the motivating force behind the movement to censor entertainment. Probably more ac- curate, however, is the assumption that a group of politicians sees an opportunity to exert a profitable regulatory power over the motion picture industry and its patrons."

The main aim of the Quebec bill is to in- crease the number of censors. At present, three men rule on all pictures shown in Quebec. The extent of enlargement and the salaries to be paid will be left in the hands of the Government, according to Premier Duplessis, sponsor of the bill. The new board, to be called "Board of Cinema Cen- sors," will be stationed in Montreal. It will be appointed by the Government.

Holdovers for "Follies"

"The Goldwyn Follies" was held over for a full week in 20 of the first 22 theatres in which it has played, United Artists reported this week. In the other two engagements, the announcement continued, the picture was held extra days.

James Melton has been signed to an agency contract for films exclusively by Myron Selznick, Ltd., New York. Herman Bernie handled the negotiations.

After a tour of Gaumont British branches throughout the country and a week's stay in Hollywood, Arthur A. Lee, vice-president and general manager, returned to New York this week.

IT'S SMART TO PLAN FOR SUMMER NOW!

THE RESPONSE TO MY FIRST ANNOUNCEMENT HAS BEEN TERRIFIC! LAST SUMMER I GAVE SHOWMEN! "TRADER HORN". "HELL DIVERS", "MANHATTAN MELODRAMA", "NAUGHTY MARIETTA". THEY WERE LIFE-SAVERS! MOW LOOK WHAT'S AHEAD FOE THIS SUMMER!

for JVNE

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24

MOTION PICTURE HERALD

March 5 , 1938

DUAL BILLS FOUGHT IN THREE NEW MOVES

But Champions of Single Fea- tures Are Silent at 'Hearing' on Chicago Ordinance

Milwaukee, Omaha, and Kansas City be- came the centers of agitation against double features this week after a widely heralded hearing on proposed legislation to ban dual bills in Chicago resolved itself into a one- sided affair with no one speaking against twin picture programs.

"The bride didn't show up," commented Edward Golden, Monogram sales manager, who flew to Chicago from New York, to fight against adoption of the suggested ordinance which would limit the length of all motion picture shows to two and and a half hours.

Appeals to Goldwyn

Armand S. Cohn, general manager of All Star Features Distributors, joined the advocates of double bills by forwarding let- ters to Barnet Hodes, Chicago's corpora- tion counsel, and to Samuel Goldwyn, who had endorsed the movement against dual programs.

"Your ruling on Alderman John Grealis' city ordinance forbidding double bills will do more harm to the youth of our country than the good claimed by its proponents," Mr. Cohn told Mr. Hodes.

In his letter to Mr. Goldwyn, Mr. Cohn appealed to the producer to recall the days when he fought to produce "independent of major domination."

Kansas City Movement

In Kansas City, a group of influential wo- men, representing several organizations, launched a program to develop sentiment for single bills. Each of the women pledged herself to telephone about 50 friends and ac- quaintances, suggesting that they patronize theatres having single features.

Daniel W. Hoan, Milwaukee mayor, as- signed Dr. John P. Koehler, health com- missioner, the task of determining whether double feature programs are causing physi- cal harm to children. The action was taken at the request of the Parent-Teacher Asso- ciation.

The Independent Theatres Protective As- sociation of Wisconsin indicated it would cooperate with the PTA in the campaign and sent a committee to Chicago to study its proposed ordinance.

Circuits voiced opposition to a proposed ordinance prohibiting double bills. H. J. Fitzgerald, general manager of Fox-Wis- consin, and Jack Keegan, district manager for Warner Brorthers, both declared the public demands double features.

The Parent Teacher Association also is leading the fight against double bills in Omaha. Mr. H. T. Jones, president of the PTA council, declared that the group will meet March 21st to adopt a course of ac- tion. One of the plans which will be con- sidered is to appeal to Dan Butler, mayor, to ban duals as a menace to health.

It was on this charge that Chicago oppo-

nents of double bills based their original protest. Expecting the charge to be made at the hearing in Chicago Monday, Mr. Golden had three physicians present to build up a case for duals.

Mrs. Louis Perlman, militant PTA lead- er, attended the hearing but when asked to comment she said she "came only to lis- ten." Theatre executives and women's club leaders were present also, but none of- fered to speak against duals and the meet- ing lasted only three minutes.

The withdrawal of Parent-Teacher Asso- ciation support from Chicago exhibitors op- posed to duals was described as a serious blow. Mrs. Perlman was charged by several persons at the hearing on Monday with be- ing a paid representative of an independent producers' group. The charge was denied.

In appealing to Mr. Goldwyn to aid in keeping the motion picture industry free from "throttling legislation," Mr. Cohn de- clared that "the question of double bills must primarily rest with the exhibitor and his patrons, and is not a subject to be controlled by either the producer, distributor or any group of women's organizations."

"In short," Mr. Cohn continued, "double bills came into being solely as a matter of merchandising by the theatre and not be- cause of any demand or campaign inaugu- rated by any producer or distributor. . . .

Warns of Legislative Meddling

"Once lending your encouragement to any group seeking to regulate exhibition by leg- islation is in effect lending your endorse- ment to the theory that legislation may also be enacted restricting the length of features, or their cost, or the time of their showing, or even the prices of admission and without end regimenting every branch of production, distribution and exhibition."

Mr. Cohn's letter to Mr. Hodes contained the charge that "such a law is unjust and un-American and discriminating against only the independent producers and inde- pendent distributors."

"I hear," Mr. Cohn added, "that promi- nent members of the Parent-Teacher Asso- ciation are loud in their arguments against dual showings, but I, for one, believe that if the PTA would put forth their efforts in protecting our children of the junior high school age against the sale of narcotics in the form of marihuana cigarets . . . they would be doing a greater service to the chil- dren and their parents than adding to the millions of unemployed people that we have in our country at this time."

Cinecolor Files Amendment with SEC

Cinecolor, Inc., this week filed an amend- ment to its registration statement with the Securities and Exchange Commission in Washington. The company showed that the proposed offering would consist of 104,142 shares of $1.50 par common stock to be sold through underwriters at $1.50 per share, re- turning $156,213, and 25,500 shares to be given the underwriters for services, to be resold at the same price.

DUAL FEATURE TEST PLANNED IN FLORIDA

A test to determine the public's wishes in regard to double features has been started by the Sparks circuit in St. Petersburg, Florida. A single fea- ture policy has been adopted in one theatre already and a similar policy will be put into effect in other houses, it was announced.

If it is found that the public does not want double bills they will be dis- continued.

A permanent double feature policy has been adopted at the Tri-States' Des Moines theatre after a trial of sin- gle features since September 1st.

IA TSE Proposes Stagger System

After several weeks of conferences among representatives of labor organizations in Hollywood in an effort to curb the spread of layoffs and unemployment, the Inter- national Alliance of Theatrical Stage Em- ployees, in a letter to Pat Casey, labor rep- resentative for producers, proposed stagger- ing the work of studio technicians by limit- ing working time to four days per week per man.

The proposal, made in a letter written by Harold V. Smith, international repre- sentative in charge of the Hollywood IATSE office during the temporary absence of Harland Holmden, came on the heels of drastic retrenchment in film production. Mr. Smith urged that the procedure be in- stituted immediately "in an effort to bridge the present low production period."

The move would affect approximately 12,000 IATSE members and may possibly be used by producers for crafts outside of the Alliance with the exception of talent. Studio managers expressed themselves as receptive to the plan.

Mr. Smith urged reduction of the pref- erential lists of each studio to a minimum so as to handle present operation require- ments ; limitation to four days' work per man on a relay system to spread employ- ment, except for key men ; making all calls for preferential employees through IATSE locals during the slack production period for 30 days ; making all additional calls other than preferential through IATSE locals.

A modification of this procedure was adopted at MGM and Twentieth Century- Fox following the discovery by Mr. Smith that some IATSE workers had been doubling up and working a shift at each studio in one day. Under the plan proposed in the letter, IATSE officers could eliminate the doubling.

Employees in Paramount's eastern labora- tories this week divided in their choice of union affiliation in a National Labor Rela- tions Board election. Workers in the news- reel plant in New York voted 91 to 8 in favor of affiliating with Local 702, Motion Picture Laboratory Technicians, an Amer- ican Federation of Labor unit. In the Astoria, L. I., studio laboratory the vote was 36 to 30 against such affiliation.

A TRIBUTE TO GENIUS

I rarely sign my name to advertisements, but I insisted that this advertisement be a personal message from me to exhibitors.

I have just seen "Rebecca of Sunnybrook Farm/' and words can- not fully express my enthusiasm for this great picture. From every angle it is definitely not only Shirley Temple's best to date, but is one of the finest pictures our company has ever made.

Shirley, herself, has never been more appealing. Furthermore, the picture is made to order for adults. The cast is a cast of grown- ups—grown-ups not only with name appeal, but also with great act- ing ability. All of them, whether they make love, sing or dance, give exceptional performances.

The story, too, is strong in adult appeal. Darryl Zanuck has stream- lined Sunnybrook Farm by putting in a modern Radio Center. He has filled it with romance, comedy and up-to-the-minute songs and dances. Those songs, I believe, are among the finest I have ever heard in a musical.

But the best proof of "Rebecca's" quality is seeing it. Therefore, we have arranged special trade screenings in all our exchanges. Every exhibitor who has booked this picture should see it at these screenings.

(Signed)

Film Corporation

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March 5, 193 8

MOTION PICTURE HERALD

27

UNIVERSAL, WESTERN ELECTRIC, RCA REPORT ON EARNINGS; FOUR DIVIDENDS

20th Century-Fox Will Show Net Profit of at Least $8,500,000 for Year ($4.00 to $4.30 Per Share), Says Joseph Schenck

Combined net profit increases of more than $4,000,000 for the year ended Dec. 31, 1937, compared to the previous year, were re- ported this week by three companies with business activities in the industry. They are Western Electric Company, Inc., with a net profit of $19,514,197, an increase of $816,- 148; Radio Corporation of America, $9,024,- 197, an increase of $816,148, and General Outdoor Advertising Company, Inc., $1,109,- 963, an increase of $383,367.

Also reporting for 52-week periods were Universal Pictures Corporation, announcing a net loss of $1,084,998 against a net loss of $1,835,419 in 1936, and United Amuse- ment Corporation, Ltd., a subsidiary of Famous Players Canadian Corporation, re- porting net earnings of $246,125 compared to $254,268 in the previous year.

Although the annual report of Twentieth Century-Fox has not been issued as yet, Joseph M. Schenck, chairman of the com- pany, announced in Los Angeles that the corporation will show a net profit of be- tween $8,500,000 and $9,000,000, after all charges and taxes. This would equal, after preferred dividends, between $4 and $4.30 per common share. The 1936 net income of $7,722,955 equaled $3.55 per common share.

Financial news of the week also included the declaration of dividends by RCA, Paramount Pictures, Keith-Albee-Orpheum Corporation, and Pathe Film Corporation. The Paramount board voted regular quarterly payments of $1.50 per share on first preferred stock and 15 cents per share on the second preferred stock. The directors of KAO authorized a dividend, out of capital surplus, of $1.75 per share on the seven per cent cumulative convertible preferred stock for the quarter ended March 31st, 1935. The Pathe payment was a regular quarterly payment of $1.75 per share on the $7 converti- ble preferred stock.

The dividends of the three companies are all payable April 1st, 1938. In the case of Pathe the payments will go to stockholders of record March 23rd, while for the other two companies payments will be made to holders of record March 15th.

RCA declared a quarterly dividend of 87^ cents on outstanding first preferred stock, pay- able April 1st, to stockholders of record March 9th, and a dividend of $1.25 for the period Jan- uary 1st to March 31st, on the "B" preferred stock, payable March 16th.

Western Electric Sales Rise

In its annual message to stockholders, West- ern Electric, parent organization of Electrical Research products, Inc., whose business includes the manufacturing of studio and theatre sound equipment, announced a 39 per cent increase in sales, a 61 per cent increase in payrolls, and a 4 per cent increase in profits for the year as compared to 1936.

After reductions in prices amounting to $7,- 500,000 on the year's business, sales totaled $203,467,000 against $146,421,000 in 1936.

EASTMAN PAYS $3,425,000 BONUS

Employees of Eastman Kodak Com- pany this week received the largest wage dividend since the company's profit sharing plan was adopted in 1912.

The employees received checks to- taling $3,425,000 of which $2,250,- 000 went to the company's 16,202 workers in Rochester, where the main plants are located and the remainder, $1,175,000, was distributed to em- ployees throughout the world.

Earnings, including income from subsidiary and associated companies, were $19,514,197 as compared with $18,698,049 in the previous 12- month period. The return on investment (re- lation of earnings available for interest and dividends to gross assets, less current liabilities ) was 7.7 per cent, the same as for the previous year. Surplus at December 31st, was $15,351,000, an increase of $220,000.

RCA's Net Increases

Radio Corporation of America, parent organ- ization of RCA Photophone and the National Broadcasting Company, had a net profit of $9,024,858.13 while in 1936 the net profit was $6,155,936.72.

Last year's profit, the company's annual state- ment to stockholders pointed out, represents a profit margin of 8 per cent on a gross income of $112,639,497.78 derived from the corporation's activities.

RCA's 1937 dollar volume was up 11.3 per cent from the 1936 figure of $101,186,309.90. On a percentage basis, the corporation's in- creased net profit was 46.6 per cent larger than in 1936.

During last year RCA stockholders received a total of $6,409,226.30 in dividends. This in- cluded regular quarterly dividends on the con- vertible first preferred stock, all dividends in arrears on the remaining shares of "B" pre- ferred stock, and a dividend of 20 cents a share paid to holders of common stock.

Earned surplus at December 31st, 1937 was $16,528,905.02 as compared with $15,334,648.92 at the close of 1936. Other comparisons in- cluded :

End of '37 End of '36

Current Assets $39,338,710 $38,709,772

Current Liabilities 10,719,273 11,724,522

Ratio 3.7 to 1 3.3 to 1

Working capital 28,639,436 28,985,250

Cash on hand and in banks.. 15,103,296 14,657,407

Inventories 11,818,756 11,526,975

Fixed Assets 39,146,234 37,784,957

The annual report also included a report of the corporation's activities in radio, describing advances in television, facsimile and network broadcasting.

The net profit of $1,109,963 made by General Outdoor Advertising Company and subsidiaries, handling considerable bill posting for motion pictures, is equal, after charges and allowance for preferred stock requirements, to 85 cents a share on 663,059 no-par shares of common stock. The 1936 earnings of $726,596 equaled 22 cents a share on 638,391 shares of common.

The report of Universal and all subsidiaries, certified by independent auditors, showed the

loss of $1,084,998 after federal and foreign taxes, interest, depreciation, amortization and provision for operating losses of subsidiaries operating in foreign countries, for the fiscal year ended Oct. 31, 1937.

In the preceding year, the net loss was $1,- 835,419, including $333,534 profit on the sale of the entire capital stock of a British subsi- diary.

Total Assets $1 1,617,205

The consolidated balance sheet of the corpora- tion and its subsidiaries, without consolidating the assets and liabilities of subsidiaries operat- ing in foreign territories, showed current and working assets of $9,340,978 and current lia- bilities of $5,631,822, comparing with $7,985,836 and $3,486,090, respectively, Oct. 31, 1936. Cash amounted to $803,172 compared with $691,137 at the close of the preceding year and inven- tories were $7,844,405 against $6,574,009.

Total assets were $11,765,602 Oct. 31, 1937, comparing with $10,617,205 on Oct. 31, 1936. Capital surplus was $3,923,951, unchanged from 1936 and surplus arising through revaluation of land was $258,125, the same as the preceding year. The deficit from operations amounted to $3,620,138 comparing with a deficit of $2,535,- 139 Oct. 31, 1936.

Capital stock consists of 17,864 shares of $100 par value 8 per cent first cumulative pre- ferred, 20,000 shares of par $100 7 per cent second cumulative preferred and 250,000 shares of par $1 common stock.

The consolidated income account of Universal for 52 weeks ended October 31st, 1937, as com- pared to the 52 previous weeks, follows :

52 Weeks 52 Weeks Ended Ended

Oct. 31, '37 Oct. 31/36

Income from operations $18,150,876 $17,408,254

Cost of sales and service 12,260,524 13,093,300

Expenses 6,920,841 5,946,248

Loss before charges $1,030,489 $1,631,294

Other income t268,928 54,299

Profit on foreign exchange 3,833

Loss $757,728 $1, 576,995

Interest 274,119 179,448

Minority interest 207 171

Federal and foreign income taxes 35,286 53,557

Loss foreign exchange (net) 38,906

Other deductions 17,658 139,447

Operating loss $1,084,998

Write-down investments in cer- tain foreign subsidiaries

$1,988,524 180,429

Loss

Profit on sale in capital stock of British subsidiary

$1,084,998 $2,168,953

333,534

Net loss $1,084,998 $1,835,419

tlncludes $309 profit on sale of capital assets.

In issuing the statement, J. Cheever Cowdin, chairman of Universal's board of directors, said : "The company operated at a profit of $51,970.27 in the last quarter of the fiscal year. Certain important pictures made and released during the year continued to show a substantial loss and, until their amortization is completed, they will have an adverse effect on the com- pany's operating results."

Mr. Cowdin said Universal's agreement with Empire Films, Ltd., of Toronto for distribution of the company's product in Canada was on a basis which "the company believes will be more profitable."

Studio Transfer Arranged

Final papers in the transfer of the Warner Vitagraph studio in Hollywood to Standard Pictures Corporation have been drafted and require only the formality of final signa- tures.

28

MOTION PICTURE HERALD

March 5 , 1938

CHICAGO THEATRES' RECEIPTS HOLD UP

Never Before So Many Good Pictures Available at One Time, According to Exhibitors

by WILLIAM F. COUCH

in Chicago

Theatre business in Chicago and environs is maintaining the upward trend evinced since the first of the year, reports show, and exhibitors attribute it largely to the fact that never before at one time have there been so many good pictures available from so many companies.

Indicative of the grosses in Chicago's Loop, where only single features are shown, is the number of pictures that have played not less than two week runs.

At the 4,000-seat Chicago theatre 'Buc- caneer" ran for three weeks, the first time in the 16 years of the theatre that a picture had played for more than two weeks. From the Chicago the picture went into the Oriental, second largest Loop house. It was estimated that the Loop engagement totaled near the $100,000 mark for the four weeks, a record.

"Hurricane" finished its sixth Loop week at the Garrick, having opened at the United Artists for the first three weeks.

"Wells Fargo" played two weeks at the Chicago and one week at the Apollo. "Stage Door," "Mannequin," "Bad Man of Brim- stone" and "Happy Landing" each played two or more weeks in the Loop. At the World theatre "Club de Ferarae" had four banner weeks.

Roadshow Record

"In Old Chicago," at the Apollo theatre on a two-a-day basis, is doing record busi- ness for a roadshow attraction. All even- ings of the first four weeks were practically sellouts and business on the matinees ex- ceeded that of other roadshows.

Mae West was at the Palace theatre last Friday for a personal appearance. This week "Snow White and the Seven Dwarfs" is opening a run that is expected to last six to eight weeks.

At the Oriental theatre "Goldwyn Follies" started out with smash business.

With "A" productions getting so much time in the main Loop theatres, much of the "B" product has started at the State-Lake or in the deluxe neighborhood theatres.

What effect, if any, the opening of the new Esquire theatre on Chicago's near- north side will have on Loop theatres has not been determined. This deluxe theatre, which opened a week ago, is playing single features in "B" week.

Selling 1938-39 Product

Further evidence of the way business is improving in, this territory is the large amount of selling of next year's product in the outlying towns. Exchanges which have good product now available are selling their 1938-39 product to many of the smaller theatres.

There is also considerable activity among

"JEZEBEL" AD USED BY PAPER COMPANY

As a pictorial example of their prod- uct, the West Virginia Pulp and Paper Company is using the 24 sheet on Warner Brothers picture "Jezebel" as the illustration for its national advertising campaign beginning with a full page ad in Advertising Age.

In addition, the company is sending out 100,000 mailing pieces carrying the 24 sheet illustration to every type of business throughout the country.

Warners are according the feature the largest 24 sheet campaign in its history with national posting in 4,000 cities through a special exhibitor co- operative plan. The posting will be done simultaneously with the release of the picture in key situations through- out the United States and Canada.

"Jezebel" is the subject of a poem by Phyllis McGinley which will appear with a page-length portrait of Bette Davis in the April issue of Red Book in the pictorial section, "In Tune with Our Times."

the large companies to interest the individual exhibitors more actively in exploiting their pictures. A number of the smaller circuits are finding that advertising campaigns is bringing in extra business.

The tremendous ballyhoo given "In Old Chicago" by the imported publicity men from Hollywood and New York started the ball rolling.

Eight Films Listed For Paramount Drive

National dates for eight pictures, compris- ing the first group, to be released during the first eight weeks of the thirteen-week "Paramount on Parade Around the World" international sales drive, have been listed by Neil F. Agnew, vice-president in charge of distribution.

The scheduled films, together with their release dates, are: "Romance in the Dark," Friday; "Dangerous to Know," March 11; "Bulldog Drummond's Peril," March 18; "College Swing," March 25 ; "Tip-off Girls," April 1; "Her Jungle Lover," April IS: "Heart of Arizona," April 22, and "Doctor Rhythm," April 29.

Cohn Becomes Columnist

Alfred A. Cohn, in addition to starting a writing assignment at Twentieth Century- Fox this week, also began to conduct a daily column in the Los Angeles Examiner. .

Emanuel Cohen, who recently split with Paramount, sailed Wednesday on the Conte di Savoia for a two or three months vaca- tion in the Mediterranean, Paris and London.

FIRST RUNS ASKED IN COUNCIL BLUFFS

A movement to obtain first run pic- tures for Council Bluffs, la., at the same time they are shown in Omaha, which is just across the Missouri River, has been launched by the Chamber of Commerce in Council Bluffs.

An arrangement of several years' standing allows Omaha theatres to show the films 28 days before they may be shown in Council Bluffs.

RKO's Creditors Study Amendments On Reorganization

Further postponement of the scheduled RKO reorganization hearing was granted in New York Monday when William Bondy, Federal Court judge, was informed that the principal creditors of the organization ex- pect to agree, within the next few days, on amendments designed to speed up the re- habilitation proceedings.

The court set the case down for a hearing March 11th, after Hamilton C. Rickaby, at- torney for Atlas Corporation, proponent of the reorganization plan, explained that once the amendments are agreed upon, an addi- tional week will be needed to put them in form for submission to the court.

Nathan Berenson, a Boston creditor, en- tered the sole objection to the adjournment and as a result was censured by Mr. Bondy, who declared: "It is inconceivable for any- one who has the interest of this reorganiza- tion at heart to oppose an adjournment of this kind."

The judge also pointed out that the fav- orable report on the plan, submitted last fall by George W. Alger, special master, was based upon RKO's earnings for 1935, 1936 and the first half of 1937 and included the supposition that the company's earnings would continue at the same rate of improve- ment as had been recorded during 1935 and 1936. He continued by declaring there was a "material change" since the court received the report.

Basic amendments being sought by the creditor groups include a reduction of the fixed charges to be met by the new company under the capitalization and interest and dividend charges set up in the original plan and revision of the underwriting terms for a new $1,600,000 stock issue to increase the attractiveness of the investment in view of prevailing market conditions.

Meanwhile, Pandro S. Berman, nominal production head of RKO studios, arrived in New York from the coast Sunday to confer with Leo Spitz, president. The chief topic of the discussions, it was understood, will be the formal designation of Mr. Berman as chief of production.

His visit was expected to be brief and on his return to Hollywood he probably will be accompanied by Mr. Spitz, J. R. McDonough, newly elected vice-president, and Jules Levy, sales manager.

March 5, 1938

MOTION PICTURE HERALD

29

THE HOLLYWOOD SCENE

Distaff

"Snow White and the Seven Dwarfs" will influence feminine spring and summer fashions for the entire world. And exhibitors, who own wives, sisters, mothers, aunts, nieces or any- thing else feminine, had better turn the follow- ing over to them at once so that they may know what the style of the time will be.

We went down to the Disney studio the other day in search of more prosaic information and found the place looking like a combination of a style show and a warehouse.

A tall red headed girl told us that what we were looking at were the fashions, and she said something like this : "It won't be only the United States where these styles will be the vogue, but this picture is being released in fourteen languages and will be shown in every city and hamlet in the world and it will make the fashions there."

We already had seen, in department stores, fabrics bearing imprints about the seven little men, the cottage, the queen and other charac- ters, and we were told about subtle shades, basque dresses, puffed sleeves, shoes and slippers. Most of all the tall red headed girl talked about hats and colors.

"Do you know," she said, " " — naming a

reigning screen belle — "wears one of the first outfits reflecting the 'Snow White' influence? It's a hip length jacket of burgundy, buttoned down the front with powder blue buttons, with a burgundy leather belt and a silver buckle. The skirt is powder blue wool, or slacks_ of the same material may be worn. Her conical cap is burgundy wool."

14 Films Start

Hollywood's production car, which for the last several weeks had been clattering along on a set of flat tires, took on the looks of a super deluxe ultra streamlined model during Wash- ington's birthday week as fourteen pictures were started and twelve finished. Good news to ex- hibitors worrying about a possible film short- age, it was likewise a welcome word to the army of job-seeking workers. Intense as was the new activity, however, it is but a forerun- ner of what may be expected during March and April, as practically every studio, major and independent, has set plans that should make the spring months rank among the busiest in the community's history. Eighty productions are scheduled to start in that period.

Both the new and completed work was wide- spread. RKO-Radio started three pictures, "The Saint in New York" will feature Louis Hayward and Joan Fontaine. Joe Penner, Lucille Ball and Vicki Lester head the cast as- signed to "Go Chase Yourself." In the third film, "Law of the Underworld," leading players are Chester Morris, Anne Shirley, Richard Bond, Walter Abel, Eduardo Ciannelli, Lee Pat- rick, Paul Guilfoyle and Eddie Acuff.

Warners Start Three

Three pictures also were started at Warners. "The Amazing Dr. Clitterhouse" will have Ed- ward G. Robinson and Claire Trevor as its

QUADRUPLE PASTEL TONES ON MGM PRINTS

"Quadruple pastel shade" tone, latest effect in film printing, will appear for the first time when MGM's "The Girl of the Golden West" flashes on the screen.

The new effect, a further step in tinting processes seen in such pictures as "The Good Earth" and "The Fire- fly," is created by the blending of four tones, each of which has a special re- lation to certain phases of the image.

The pastel shading tone was devel- oped by John Nicholaus, MGM lab- oratory chief who recently had special toning machines installed to make pos- sible the quadruple tone idea upon which he has been working since he perfected the sepia platinum tone which was used in "The Good Earth."

stars. "Woman Habit" will feature Kay Fran- cis, George Brent, Ian Hunter and Gloria Dick- son. Anna May Wong, Margaret Lindsay and Lola Lane are only a few of the players sched- uled to appear in "When Were You Born."

Paramount started two productions. "Crime Gives Orders" will present Lloyd Nolan, Mary Carlisle, Lynn Overman, J. Carroll Naish, Regis Toomey. Leading players in "The Texans" are Randolph Scott, Joan Bennett, May Robson, Robert Barrat.

"The Last Stand," in which Bob Baker, Con- stance Moore and Fuzzy Knight will be fea- tured, was started at Universal.

At MGM work was started on "Love Bites Man." Dennis O'Keefe, Florence Rice and Ray Bolger are the principals.

Columbia Making "Holiday"

With George Cukor directing, Columbia started "Holiday," with Katharine Hepburn, Cary Grant and Doris Nolan listed for the im- portant parts. It may be remembered that when E. B. Derr first produced it for Pathe in 1930, with Mary Astor, Robert Ames, Edward Everett Horton, Hedda Hopper and Ann Hard- ing as its stars, the picture was regarded as a model production.

Monogram's contribution to the new work is "Land of Fighting Men," in which Louise Stanley, Herman Brix and Rex Lease will be seen.

"Outlaws of Sonora," Republic, is a "Three Mesquiteers" picture and will present Bob Liv- ingston, Ray Corrigan, Max Terhune, Jack Mulhall and Jean Joyce.

About half the completed quota appear to have the potentialities in cast, story and pro- duction values to make the big picture grade, and two or more of becoming extended runs.

Warner Bros, cleared its active list of three pictures. The cast of "Little Lady Luck" has Ann Sheridan, John Lrtel, Frank McHugh,

Janet Chapman (the star), Robert Homans, Jean Benedict and James Nolan. The many names in "Cowboy from Brooklyn" include Dick Powell, Priscilla Lane, Pat O'Brien, Dick Foran, Johnny Davis, Ann Sheridan, Ronald Regan, Spring Byington, Robert Cavanaugh, Harry Barris, Dennie Moore and May Boley. "Golddiggers in Paris" will feature Rudy Val- lee, Rosemary Lane, Hugh Herbert, Allen Jen- kins, Melville Cooper, Frank McHugh, Fritz Feld and Curt Bois.

Two films were completed at Republic. In "The Gentleman from London" are featured C. Henry Gordon, Tala Birell, Alan Marshall, Mady Correll, Herbert Mundin and Gerald Oliver Smith. The cast for "Capital Punish- ment" includes Bob Livingston, Rosalind Keith, Warren Hymer and Jack LaRne.

Universal Completes Two

Universal also finished two pictures. "State Police" will present John King, Constance Moore, David Oliver, Larry Blake and J. Far- rell MacDonald. In "Goodbye Broadway" will be seen Alice Brady, Charles Winninger, Tommy Riggs, Tom Brown, Dorothea Kent, Frank Jenks, Jed Prouty and Donald Meek.

"There's Always a Woman" was finished at Columbia. Joan Blondell, Melvyn Douglas, Mary Astor and Francis Drake are featured, supported by Wynn Cahoon, Jerome Cowan, Robert Paige, Thurston Hall, Arthur Loft and John Gallaudet.

^ At MGM, "100 Years," formerly titled "Wooden Wedding," was completed. Cast names are Robert Montgomery, Virginia Bruce, War- ren William, E. E. Clive, Priscilla Lawson, Jean Fenwick, Eleanor Lynn, Bodil Rosing and Tor- ben Meyer.

Monogram finished "Rose of the Rio Grande." Familiar personalities to be seen are Movita, John Carroll, Antonio Moreno, George Cleve- land, Lina Basquette, Duncan Renaldo and Don Alvarado.

RKO-Keith finished "This Marriage Busi- ness," which earlier bore the title "It Couldn't Happen Again." It will present Victor Moore, Allan Lane, Vicki Lester, Jack Carson, Jack Arnold, Frank M. Thomas, Cecil Kellaway, Bryant Washburn, Paul Guilfoyle, Kay Sutton and Leona Roberts.

National Theatre Supply Holds Regional Meetings

The first two of a series of regional meet- ings to familiarize managers with the Na- tional Theatre Supply Company's Interna- tional E-7 and International Simplex sound equipment were held in Los Angeles this week and in Chicago last week.

Walter E. Green, president of National Theatre Supply, opened the Coast session by expressing confidence in the future of theatre business despite box-office recessions.

Mr. Green will leave Los Angeles Sun- day for Dallas where another meeting will be held.

Caravel Previewing Color Film

Caravel Distributing Corporation will hold a press preview and cocktail party for "Boy Meets Dog," a color film, Friday afternoon at its offices, 730 Fifth Avenue, New York.

30

MOTION PICTURE HERALD

March 5 , 1938

IN THE BRITISH STUDIOS

by AUBREY FLANAGAN

in London

Two for Hay

Will Hay, English schoolmaster comedian from vaudeville, radio and screen, and hero of the industries record-breaking 1937-8 comedy, "Oh, Mr. Porter," has been signed for two more pictures to be made under the Gaumont- British Gainsborough auspices this year.

The two titles tentatively chosen are "Chi- cago Ben," which is being written by Ralph Smart and Howard Irving Young, Jr., with screen play and dialogue by Marriott Edgar and Val Guest, and "Bones," which is to be adapted for the screen from the Edgar Wallace story "Bones of the River," by Marriott Edgar and Val Guest. _

For "Chicago Ben" Gainsborough plans to bring over from Hollywood several well known actors to portray gangster roles.

In "Bones" Will Hay will be seen as a cap- tain of a decrepit African river launch, and will be supported once more by Moore Mar- riott and Graham Moffatt.

Next on the floor of the Gainsborough stu- dios, Islington, and to succeed the Will Hay comedy, "Convict 99," will be a musical titled "A Girl Must Live," which is at present in the course of preparation for the screen by Austin Melford.

Joint stars of this new production will be Margaret Lockwood, personal hit of "Bank Holiday," Renee Houston, comedy favorite of British radio and vaudeville fans, and Lilli Palmer. "A Girl Must Live" is described as "a fast moving satirical tale of the private lives of the ladies of the chorus.

Cooperatives

Produced on a co-operative basis and with its team to star co-operatively in any profits, "A Spot of Bother," first production of Pinebrook Limited, goes on the floor at the Pinewood studios, Iver, this month.

Formation of this company has already been announced in Motion Picture Herald, but it is now possible to record details of the co- operative basis of the venture. Shareholders in Pinebrook Limited are:

General Films Distributors, a distributor con- cern, which puts up a cash advance ;

Pinewood Studios, represented by Captain Richard Norton, whose contribution is studio credit ;

Messrs. O'Bryen, Linnit & Dunfee, owners of the play, who contribute the film rights ; and

Alfred Drayton and Robertson Hare, princi- pal comedians and stars of the film who will take half salaries while the film is in produc- tion.

All these will share in the proceeds accruing from box-office takings, from which Pinebrook will receive a substantial percentage. Anthony Havelock-Allan, who is resident producer at the Pinewood Studios, will be in charge, and San- dra Storm will supply feminine relief.

On the success of this venture other co- operative productions at Pinewood stand.

Last for Ft

ox

"Second Thoughts," the last Fox British film which will be made until the Quota Act is law, went in production at the Wembley Park

Will Hay, favorite English come- dian, as Convict 99 in Gainsborough's picture of that name now in produc- tion at Islington.

Studios. Albert Parker is directing and Frank Fox and Evelyn Ankers have the leading roles.

Frank Allenby, J. Bromley Davenport and Marjorie Fielding are also playing important parts in the picture.

David Evans, who during the past year has been responsible for 11 adaptations and screen plays and two originals for Fox-British, has written both the original and the screen play for "Second Thoughts."

On the conclusion of the film the Fox British studios will call a halt to active production, dismissing some 200 odd employees, and retain- ing a skeleton staff of 15.

No plans are advanced for future activity, and none will be prepared until the full con- tents of the completed and ratified Film Bill is made known.

Fox British will have made 16 films in the last 12 months.

V

Irish Story Planned

Scheduled to take the floor at Walton on Thames this month is "Mountains O'Mourne" from an original story by D. L. Fielding, to be directed by Harry Hughes.

As might be imagined from the title, the film has an Irish setting, and includes in its cast two noted Irish players, Niall Maginnis and Maire O'Neill. Among the supporting cast are Hamilton Keene and Johnnie Schofield. The script is in the hands of Gerald Brosnan. V

"Mayflower" for Mayflower

"Mayflower" Productions headed by Eric Pommer and Charles Laughton are coincident- ally planning to make a film about "The May- flower."

One of the most famous stories in the history of Anglo-American records and dealing with

the trials of the Pilgrim Fathers, it is to be taken from the life of William Brewster by Irving Leroy and Michael Sadlier. American and English authors respectively.

V

Matthews Musical Set

Preparations are now well advanced for the next Jessie Matthews musical to be made at Pinewood under the direction of husband Son- nie Hale, responsible for "Gangway" and "Sail- ing Along."

The film, a Gaumont British production, is to be titled "Asking for Trouble" and goes into active production in March.

Fourth V ersion

Comedy classic of British vaudeville, the music-hall sketch, "A Sister to Assist 'Er," is to be made into a feature film by Associated In- dependent Producers, at the head of which is Widgey R. Newman, film trade zoologist, ex- pert on racing form and creator of a record number of documentaries. The show has al- ready been filmed three times — twice as a silent.

George Dewhurst, who directed all three of the other versions, comes to the director's seat again and will occupy it jointly with Newman.

The film goes into production at the M. P. Studios, Elstree, almost immediately.

The role of "Mrs. May," immortalized on the stage by the late Fred Emney, has been given to Miss Muriel George. Polly Emory, who played in the three former versions, is again "Mrs. Getch," whilst Charles Paton, another of the original company, has taken the role of Mr. Harris.

Mr. George Dewhurst wrote the scenario. V

Itemized

The West End stage actor, Michael Red- grave, at present appearing as Tusenbach in John Gielgud's revival of "Three Sisters" at Queen's Theatre, London, has been signed on long-term contract by Maurice Ostrer to ap- pear under the Gaumont British-Gainsborough aegis. His first film will be "The Wheel Spins." Alfred Hitchcock will direct this international spy drama at Islington Studios immediately "Convict 99" has been completed there.

V

The Scottish character comedian, Will Fyffe, Gainsborough contract star, has been assigned to the part of the nervous little jeweller in the screen version of Barre Lyndon's stage success, "They Came by Night." So pleased were Gains- borough with Fyffe's portrayal of Adam Mac- Adam, the irascible old sheep farmer in "Owd Bob," that they bought this vehicle specially for him.

V

Jack Raymond, director of "The Rat," has finished work on the Gordon Harker comedy- thriller, "No Parking," at Beaconsfield. The film has been made by Herbert Wilcox Pro- ductions at Beaconsfield for British Lion re- lease.

V

Adrian Brunei, British film director, has ap- peared in the role of playwright. His play, "Only Yesterday," is currently running in a Palmers Green repertory theatre.

THE SILVER-THROATED BOY YOU LOVE...*.

THE WHOLE WORLD'S GONE

HAWAIIAN ■ ■ and with it goes the song- ster star who's become one of the big sure-fire box-office breadwinners! . . Wonderful Bobby Breen . . at home in breathless action and ting- ling heart throbs — as a stowaway on a steamer, and footloose among cutthroats in the Paradise of the Pacific!

Hear him sing as he never sang before, raising the crowds to cheers and tears with "Down Where The Trade Winds Blow/' "Hawaii Calls," and other great numbers!

March 5, 1938

MOTION PICTURE HERALD

33

ASIDES end INTERLUDES

By JAMES P. CUNNINGHAM

Sidney Meyer, of Wometco Theatres, Florida, sent a wire of congratulations to Samuel Goldwyn for the box office perform- ance of Mr. Goldwyn's "Goldwyn Follies" at Mr. Meyer's theatres. "There was standing room only from opening 'till closing," tele- graphed Mr. Meyer, "with thousands being turned away."

He added: "The aggregation of talent that has been gathered for this picture sup- plies entertainment for everybody's tastes. Whether highbrow or lowbrow. The fact that 'Goldwyn Follies' beat the previous record without the benefit of an extra-holi- day business is the most amazing box office performance in the history of our theatres.

"You've got a smash hit on your hands."

A tough problem for Mr. Goldwyn. V

"We have done something if we find people are turning off their lights and are sitting in the firelight so they can better imagine the scenes that come to them," commented Cecil B. DeMille, of Lux Radio Program, in Kansas City, the other day, speaking in the person of radio impresario , not of films.

V

There are assistant directors, dialogue direc- tors, technical directors and just plain directors. But MGM this week came out with a new one.

Dave Weber has been appointed "dialect director."

V

Because of the possible participation of mo- tion pictures in the California Golden Gate International Exposition of 1939, on "Treasure Island" off San Francisco, in the Pacific, it seems pertinent to report that the Exposition Commissioners, susceptible even though they usually are to the high-presswrings of some of their fanciful-minded colleagues, have put their foot down on the use of camels and elephants as the sole means of locomotion for hauling visitors around the Fair. The authorities felt that camels and elephants, while delightfully romantic and "Pacific" in symbolism, might bring the $50,000,000 Pageant of the Pacific into bad odor.

V

Dick Powell's yacht has been fitted with a mechanically controlled swing berth to pre- vent Joan Blondell from being sea-sick.

V

Paramount hears that its "Wells Fargo" is cleaning up in England. The Britishers believe it's about H. G.

V

Radio Station WNYC, in New York City, giving all-request organ solos every morning, by Alexander D. Richards, obliged a woman listener, the other day, with a rendition of "The Right- Kind of Man."

The Municipal Station followed immediately with its regular broadcast of missing persons. V

"Velez Explains Her Love Life" read an Associated Press headline over a Hollywood dispatch, which told how "A Broadway-bound train widened the distance today between Lupe Velez and Johnny Weissmuller, but as Lupe ex- plained it :

"Maybe John-n-ee and I — we stay married so long because we are separated so much."

If and when Eddie Bergen's Charlie Mc- Carthy ceases to pay the board bills, Eddie will turn to cinematography, an old hobby which, unknown to most, was mastered by him way back when. He's even a member of the Ameri- can Cinematographers in Hollywood.

Eddie Bergen entered show business literally through the front of the house — getting himself a job as usher in a Chicago theatre. There again the camera — with a good bit of the Bergen Scandinavian luck — paid a profit.

Learning of Eddie's interest in photography, the manager asked him to make a picture of the theatre. Bergen gladly complied, but when the time came to exhibit a print, Usher Bergen probably wished he could usher himself to the least conspicuous seat in the back of the top balcony.

The picture itself had turned out all right, but the negative had been carefully left to dry in the sun — and it was a very hot day. As might be expected, the emulsion had softened and run, until the imaged theatre bulged and sagged in all the wrong places!

None the less, with true Viking fortitude, Bergen showed his distorted picture. And at that juncture, whoever was the Vikings' god of luck proved to be smartly on the job. "The manager looked at the picture," said Bergen, "and to my dismay suddenly broke into roars of laughter. When he stopped, he amazed me by ordering a lot of prints.

"He was a good showman all right, for he sent those prints out to all his friends with the notation that his house was doing such business with the comedy then playing that it was liter- ally rocking and bulging with laughter."

V

Associated Press headline says : SCIENCE LENGTHENS

LIFE OF FILM STARS Good performances help a lot, too.

V

Theatre manager Ed Siegal is having his hands full of juvenile delinquency these days, what with one thing and another. Taken by the Randforce Circuit, which employs him, from the peace and quiet management of the Maspeth theatre, at Maspeth, Queens, Ed was transplanted to the roughhouse neighborhood of the Alba in nearby Brooklyn. There, the young mischievers tear his chairs, break his windows, and otherwise make life miserable. The other afternoon, however, they really made Ed sore. Realizing that it was the young "gorillas" who were pounding on his office door with bats and bricks, Ed prepared himself for combat, opened the door to stomp out — and did, right into a bonfire the rascals had built on his office doorstep.

V

What with motion picture biographies con- templated on the lives of Gershwin, Pulitzer, Nobel, Beethoven, Louis the Sixteenth, Victor Herbert, Jesse James, Stanley, Livingstone, Lawrence of Arabia, Nijinsky, and whatnot, the London Era concludes that busy days are ahead for the firm of Arliss and Muni, Inc.

V

One of these days some one is going to de- termine : "What, exactly, is a studio super- visor."

Note to Hal Roach:

Vittorio Mussolini, in Italy, is going ahead with his own plans for action picture produc- tion. Vittorio, with Corrado Alessandrini, has already made "Luciana Serra," a film extolling the life of a young Italian plane pilot in the World War and the Ethiopian "invasion" — except that Senor Alessandrini did most of the work, and probably will get none of the credit.

Anyway, Alessandrini is a very discon- tented young man today. He and the son of II Duce took a look at the final rushes, and Vittorio decided to make some changes, to which Alessandrini did not agree. So, Young Mussolini ordered Alessandrini to Ethiopia to shoot some more exteriors. He left Rome only with great reluctance. With him out of the way, Mister Mussolini proceeded to "doctor" the film a la Mussolini. Taking, for example, the climactic scene, where "Serra" the pilot is dying, Vittorio inserted extracts of his father's war speeches, and "Serra" is now seen dying very, very happily, because he hears his Duce praise the mission of Italian soldiers in Africa.

V

. The normal competitive feeling existing be- tween sales executives of two competing mo- tion picture companies zvas non-existent the other morning when Rudolph Berger, Metro- Goldwyn-Mayer manager at Washington, D. C, telephoned to Harry Hunter, manager for Paramount in Australia, in the first call ever made from the Potomac district to Sydney. It was a case of Mr. Berger talking into tomor- row, and of Mr. Hunter, at Sydney, talking to yesterday— the Potomac time of the call clock- ing 11:45 on Wednesday morning, when it was 2:45 the next morning in Sydney.

Mr. Berger spent $45, at the rate of $15 the minute, to have his voice run from Roanoke, Virginia, up to Holden, Maine, across the ocean by short wave to London, England, thence by short wave directly to Sydney, for a total of 14,000 miles, and, from the exchange at Sydney, another few miles to Mr. Hunter's private tele- phone— his number is F3562.

Probing a bit into the mechanics, Metro Manager Berger learned that the conversation, in its short wave transmission, is transformed into "inverted speech" to make it impossible for any person tuning in on the circuit to un- derstand the conversation. The inverted speech is a transposition of the high tones into low tones and low into high, and these tones are re- transposed into proper tone on each end of the short wave system.

V

Izzy Weiner, Columbia Pictures' sales manager in Nebraska, is chuckling because he got to Charlie Prokop, manager-owner of the lone theatre in Wahoo, Nebraska, Darryl Zanuck's own home town, and sold Mr. Prokop Columbia's product solid for two years, a year longer than Darryl Za- nuck's Twentieth Century-Fox product is slated for the spot.

V

RKO Radio's production department an- nounces a new "fiction mystery" motion picture entitled "Saint in New York." Some of their aggressively-imaginative press agents will prob- ably try to make a tieup with St. Patrick's Cathedral, or the Cathedral of St. John tin- Divine.

34

MOTION PICTURE HERALD

March 5 , 1938

LORDS RECEIVE NEW FILMS BILL UNCHANGED BY COMMONS DEBATE

Lower House Approves Act With Little Change From White Paper Draft; Final Ap- proval Expected Next Week

by AUBREY FLANAGAN

in London

Grave consideration of the proposed new Films Bill in the House of Lords this week followed the heated debates over the measure in the House of Commons which reached a crescendo immediately before final passage of the measure by that body when the Gov- ernment proposed and, at the last minute, withdrew a proposal which would have given renters a three to one quota advantage.

The measure received its first reading before the Lords last Friday and the de- bate and second reading were expected to take place late this week with the com- mittee report stage to follow within a few days thereafter.

In general the bill went through the lower house as originally planned by the Government, most of the subsequent amendments having been rejected, and the belief that the measure which will supplant the current Films Act, expiring this year, would take the form first outlined by Oliver Stanley in the White Paper was confirmed.

Members of the House of Lords with labor leanings are expected to introduce a motion seeking to substitute a Films Commission for the Films Council now provided for in the bill. It is anticipated also that the same members of the upper house will seek amendments pro- viding for additional safeguards for labor with respect to fair wages.

Appeals were made this week to the Govern- ment by the Premier of New South Wales to reconsider the clause, inserted in the measure at the last minute by Mr. Stanley, that films designed for quota eligibility must be produced in the United Kingdom. The clause has the effect of banning for quota purposes all film pro- duced in the British Dominions of Canada, India or Australia.

Quota Starts at 15 Per Cent

The quota provisions, which proved the most controversial in the House of Commons, provide that the exhibitors' quota shall be 15 per cent for the first year, increasing gradually during the ten year period of the new law to 25 per cent. The distributors' quota will run from 15 per cent in the first year to a final high of 30 per cent. The present distributors' quota legis- lation will expire at the end of this month.

Alarm was spread through exhibitor ranks when, following publication of a press release by John Maxwell, head of Associated British Pictures, it appeared possible an attempt would be made in the House of Lords to reintroduce the Stanley triple quota plan which provided that films costing more than a specified amount would be counted for three on the distributor quota. Mr. Maxwell appealed to the exhibitor interests to reconsider their opposition to the plan, suggesting the value of concentration on quality pictures and hinting that the Board of Trade should provide greater elasticity to pre- vent a product shortage which was the basis of their objection.

QUOTA AS ANTIDOTE FOR WORLD CRISIS

The proposed new British Films Bill, currently in the process of debate and approval in Parliament furnished a handy antidote to the storms of hot debate aroused by the European crisis and its repercussions in the British Government, according to the New York Times.

A wireless dispatch to the news- paper from London this week said in part :

"After the tension and excitement, the House of Commons, after Mr. Chamberlain had either evaded or de- nied questions on foreign affairs, turned almost gratefully to the strictly internal, dull and complicated Films Bill, which was excellently calculated to act as an antidote to the violent emotions of the debate of the last two days."

Weeks of angry protest by various elements in the industry against certain phases of the new bill reached a climax last week when the Gov- ernment voluntarily abandoned the three to one renters' quota proposal. After a general attack in the House of Commons in which every speaker opposed the plan. Sir Kingsley Wood said that under the existing circumstances the proposal would be withdrawn. U. S. Blamed for Losses

The failure of Hollywood to produce a suffi- cient number of outstanding pictures during the year was blamed for the fact that English patronage did not increase during the 1937-38 season in the annual report of the Cinemato- graph Exhibitors' Association.

The organization expressed confidence that if producers supplied good pictures greater patron- age than ever would be attracted. Rentals now stand at a peak level and are endangering the whole structure of the industry, the report de- clared. Inclusion in the Films Bill of provision for a Film Council was the result of CEA efforts in complaining to the Board of Trade over the attempt of distributors to grade films, it was contended, and elsewhere it was suggested that in the future the Films Council might be of value in settling such trade problems.

Gaumont Sued by ABP

Action was filed last week in the King's Bench Division by Associated British Pictures Corporation against Isidore, Mark and Maurice Ostrer, claiming damages for alleged misrepre- sentation in connection with the agreement made in August, 1936, by which John Maxwell of ABP was to purchase shares in Metropolis and Bradford Trust, holding company of Gaumont British.

It was alleged that the claims regarding the status of the securities were incorrectly repre- sented. The Ostrers have filed a denial.

Tax Adjustment Sought

With Britain's 1938 budget coming appreci- ably nearer, and her chancellor of the ex- chequer, Sir John Simon, faced with the annual task of balancing national accounts, exhibitors

here have once again made one of their periodic bids for a cut in the entertainments tax, a duty imposed on them during the war, and excused by national emergency, but still fastened round the necks of the vast majority of entertainment impresarios.

Their demand this time is not exacting. It also has what the trade believes to be a strong bargaining point, the increasing and bitter com- petition of the football pool. This latter phe- nomenon, inexorably becoming a national insti- tution, has been diverting £40,000,000 a year into other than entertainment channels and re- ducing the purchasing power of the nation. It is tax free, and devoid of any duty beyond the very nominal poundage charged on postal or- ders dispatched by the country's millions of week-end gamblers.

With this argument to back them up, ex- hibitors, through their official body, the Cine- matograph Exhibitors Association, have ap- pealed to Sir John Simon to take a meagre halfpenny off the three halfpenny tax on the cheaper seats, those between sixpence and a shilling. Sixpenny seats go tax free, but the three halfpence which is imposed on seats over that, and under a shilling, has necessitated ex- hibitors putting the eightpenny seats — recog- nized bread and butter bringers of the British cinema industry — up to ninepence, since English cinemagoers will have no truck with an odd halfpenny. The result, they claim, is that the vast majority of patrons spend sixpence, with an obvious attendant loss, not only to the ex- hibitor, but also to the national exchequer.

Backing up their appeal they point out that they are suffering intense competition from the football pool which goes tax free, and which is gaining an intensifying hold on the public every year.

Receipts Cut by Gambling

As already recorded, the diversion of money each year into this legalized gambling is colos- sal. It is not to be wondered at, for stakes are modest and dividends high. For a penny bet on fifteen selected football matches, clients have drawn tens of thousands of pounds, and the weekly dividend on forecasts, at sixpence a time, on four away winners three draws, or ten freely selected games, runs weekly into high figures, sometimes thousands of pounds.

It is claimed by exhibitors that apart from this divergence of money which has its obvi- ous effect on the box office, with an ill paid proletariat, two nights of the week have been affected in attendance, Thursday night, on which the form is studied and the coupons filled in, and Fridays when the money is spent and postal orders dispatched. From all parts of the country cries of exhibitor alarm are being raised, and this appeal to the Chancellor is the first official and corporative reflection of that unrest.

Reference has already been made in these col- umns to the existence of a football pool organ- ization backed by certain prominent, and some obscure film trade personalities, with offices in Wardour Street, and which organization has been the object of severe criticism from ex- hibitors.

Latest development in the situation has been the reported resignation from its board, and sub- sequent denial of resignation, of one of its lead- ing personalities, the treasurer of the Cinemato- graph Exhibitors' Association himself. Whilst not necessarily tied up with his Screen Pools directorship, it is none the less a fact that a new candidate is being put forward for the treasurer- ship of the association this year.

Charles Metcalfe, present President of the

(Continued on page 36)

BIG ENOUGH FOR THE BIGGEST!

LOOKED AS SPECIAL 4DDED ATTRACTION

AT

RADIO CITY MUSIC HALL !

WO REELS WITH FEATURE DRAW! U>The world s fonder babies— grown three and a half years old— and uter than ever! ... See them on SKIS! Hear them >ING! . . . Give your crowds the chance for the biggest .horus of "Ohs" and "Ahs" your theatre everjjebrd! . . . \ MARQUEE MAGNET FOR ANY THEATRE IN THE LAND, REGARDLESS OF POLICY!

AN RKO-PATHE PRESENTATION PRODUCED BY FREDERIC ULLMAN, Jr. DIRECTED BY FRANK DONOVAN

ORCHESTRAL ACCOMPANIMENT BY NATHANIEL SHILKRET

36

MOTION PICTURE HERALD

March 5 , 19 3 8

QUOTA PERCENTAGES START AT 15

(Continued from page 34)

CEA, believes that football pools have a bad influence on the industry and objects to any organization which by its title suggests asso- ciation with the industry in any way.

More is likely to be heard of the relations of the football pool to cinema takings, and already moves are afoot in Parliament to get a tax im- posed on them. Until such a tax is imposed, exhibitors will, however, concentrate on an alle- viation of their own tax burden.

V

Rental Talks Progressing

Joint talks between exhibitors and renters on the vexed subject of rentals have now taken a step forward and have reached the stage where practicable schemes of action are being discussed. Two proposals for the elimination of overlong programs and the prevention of booking of two "A" films in one show have been presented by the exhibitors for the examination and it is hoped approval of the Kinematograph Renters Society.

Emphatic assertion by the renters that there is no desire to cut rentals but only to stop excessively long programs has been accepted by the exhibitors, who in an expressed readiness to tackle the problem have suggested two ways of meeting the difficulty.

One of these aims at the elimination of the "A" film as a second feature by compelling 75 per cent of advertising and billing to be devoted to the "A" film in a program. The other sug- gests the drawing up of a special "A" film con- tract only one of which would be permissable in one booking period. Heavy penalties are pro- posed for offenders in either case. These are to be examined by the KRS in full session.

Exhibitors have remained solid in one bloc, circuits and independents alike being repre- sented on the negotiating committee, and both jointly insisting that if the renters' desire is purely to limit programs and stop the booking of two "A" films in one program they will do their best to bring that about. The renters on their side have accepted this expression of good- will and as a body have agreed to give serious consideration to any practicable efforts at solution.

V

Export Footage Down

Export of exposed positive films from Britain for January, 1938, were 1,874,152 feet valued at £11,376 ($56,880), against 1,963,567 feet valued at £10,175 ($50,875) for January, 1937, and 1,777,863 feet (£9,184 or $45,920) for 1936.

Films of all other descriptions exported in January were valued at £26,800 ($134,000), against £31,567 ($157,835) for January last year and £21,048 ($105,240) for January before.

Value of sensitized photographic plates, films, etcetera, exported, were: 1936, £34,017 ($170 - 085) ; 1937, £33,290 ($166,450) ; 1938, £32,388 ($161,940).

On the import side 7,853,910 feet of blank film came into this country valued at £19,218 $96,090).

This shows a considerable increase in footage over the 5,855,221 feet of blank film imported in January last year, and the 5,234,319 feet of January the year before.

The value, however, decreased, the figures being: 1936, £19,296 ($96,480); 1937, £24,617 ($123,085); 1938, £19,218 ($96,090).

Exposed films imported showed a consider- able drop.

Imports for January were 914,269 feet against 2,053,715 feet in January, 1937, and 2,240,319 feet in 1936.

CANADA SATISFIED WITH QUOTA STATUS

According to officials of the Cana- dian Department of Trade and Com- merce the Dominion Government has no intention of appealing to the United Kingdom for the inclusion of Cana- dian-made features for shorts in the category of British films in the amend- ments to the British Films Act now before the House of Lords in London. The stand is taken that the matter is wholly for the consideration of the Imperial Government and one in which Canada has no say.

The official Canadian view is that British preference for made in Canada features is unnecessary under the re- vised quota law because Canadian films can still be shown on the screens of theatres in Great Britain without the blessing of quota privileges.

Values were lower, at £7,218 ($36,090), £15,048 ($75,240), £16,130 ($80,650).

Value of imports of sensitized photographic plates, films, etcetera, were : 1936, £23,390 ($116,950) ; 1937, £13,246 ($66,230) ; 1938, £18,- 520 ($92,600).

Re-exports cinematograph films were 907,178 feet for January this year against 672,688 for January, 1937, and 1,733,608 feet for 1936.

Paul Glase Anniversary Observed at Reading

A testimonial dinner was tendered Paul E. ("Peg") Glase in the Berkshire Hotel, Reading, Pa., last Thursday, to celebrate his 25th anniversary in the theatre business in Reading. Mr. Glase, manager of Wilmer & Vincent's Embassy theatre, and city man- ager for the company in Reading, started in the theatrical business in 1913 doing pub- licity for C. G. Keeney at the old Hippo- drome there.

Among the 250 in attendance were John O. Glase, father, and Jack Glase, son, of the theatreman, both of whom spoke briefly. Another speaker was Joseph Egan, general manager of Wilmer & Vincent, who com- plimented Mr. Glase on his successful career. A special leased-wire broadcast by Frank L. Diefenderfer, a long-time friend and asso- ciate in many enterprises, from a bed in the Reading Hospital was a feature of the dinner.

Mo+iograph Reduces Prices

A reduction of $775 in the list price of a pair of Motiograph Model K projectors became effective this week. The new price with magazines and bases and without lamps or sound attachments is $1,695 as against the former price of $2,470.

Francis Simon has joined the United Art- ists publicity staff as a feature writer.

Levy in Record "Snow IV kite "Deal

Walt Disney's "Snow White and the Seven Dwarfs" continues its unprecedented record of smashed box office receipts, at- tendance and long runs, with Boston, Provi- dence, Baltimore, Reading, Richmond and Washington holding the picture for a fourth week. In New York the Palace and Albee are holding it over for third weeks and it will play concurrently with the RKO metro- politan circuit. Holdovers into second and third weeks are the rule in every key city in which the picture is playing.

Discussing reports of RKO Radio deals for "Snow White and the Seven Dwarfs" with the Skouras National Theatre circuit and with the Warner circuit, Jules Levy, general sales manager of the company, said that arrangements will return to the com- pany the greatest revenue ever earned by a picture. Conditions of the National circuit deals included the playing of the picture on a single bill policy with guarantees for the longest playing time ever accorded a pic- ture in each situation.

In many instances the runs will be for periods two or three times the length of top grossing pictures that have played in the past. Increased admission prices and par- ticularly the matter of increased prices on children's tickets have been a factor in work- ing out the circuit deals, according to Mr. Levy.

"The Call" to Open March 28

Best Film Company announces that it will present the American premiere of "The Call," opening at the Astor theatre in New York March 28th. "The Daughters of Mary, Health of the Sick," created by His Emi- nence Patrick Cardinal Hayes, will sponsor the opening. The committee includes, among others, Alfred J. Talley, chairman ; John P. O'Brien, Alfred E. Smith, John J. Bennett, Jr., Major Edward Bowes, Eddie Dowling, Martin Quigley, Salvatore Cottillo and Mrs. Philip A. Brennan. "The Call," now an all-English talking film, is based on the life of Charles de Foucauld, officer of the For- eign Legion, adventurer, explorer and mis- sionary.

Bryan Succeeds Cohn

The Senate in Washington on Monday confirmed the nomination of William Jen- nings Bryan, Jr., son of the late "Great Commoner," to be Collector of Customs at Los Angeles, a post recently made vacant by the resignation of Al Cohn, on his return to Hollywood production.

A welcome luncheon will be tendered Ted O'Shea by exhibitors in the New York zone at the Hotel Astor, March 23rd. Mr. O'Shea was recently appointed eastern dis- trict manager for Metro-Goldwyn-Mayer.

March 5 , 1938

MOTION PICTURE HERALD

37

SHOWMEN'S REVIEWS

This department deals with new product from the point of view of the exhibitor who is to purvey it to his own public

Mad about Music

(Universal) Whimsey

It is traditional that at least once a season Universal produces an extraordinary motion picture. For example, in recent memory it pro- vided "All Quiet on the Western Front," "Frankenstein," "Magnificent Obsession," "My Man Godfrey." Earlier in its long history it had offered such films as "The Hunchback of Notre Dame," "Phantom of the Opera." Of late the pictures in which Deanna Durbin has been starred, "Three Smart Girls" and "100 Men and a Girl," have been Universal's show- case attractions. Now comes "Mad About Music," with Deanna Durbin, expertly supported by Herbert Marshall, Gail Patrick, Arthur Treacher, William Frawley, Marcia Mae Jones, Helen Parish, Jackie Moran, Christian Rub and a competent group of minor players, a pro- duction well qualified to take high place among those fine pictures mentioned.

Only rarely do productions so adroitly com- bine assured entertainment and exploitation values as in "Mad about Music." Whether it is shown in luxurious picture palaces or remote country theatres, it should charm all who see it, for it is rich in those essentials that stir the softer emotions. While the title bears no rela- tion to the theme, no exhibitor who seeks to offer his patrons quality screen merchandise can do less than mark "Mad about Music" on his booking sheet in big bold letters.

Rich in comedy, threaded with pathos that brings an occasional tear or two, supplemented by a worthy music score and with Miss Durbin singing Gounod's "Ave Maria" and three topi- cal Jimmy McHugh-Harold Adamson composi- tions, the simple story has universal appeal.

In a Swiss girls' school, fatherless "Gloria," long separated from her mother, who is a glamor- ous Hollywood star, creates a fictitious father for herself. Most of the girls thrill to the vivid letters which "Gloria," with the help of kindly "Pierre," writes to herself and in which her "father" is described as a world exploring- adventurer. One girl, jealous "Felice," doubts "Gloria's" white lies. As the story revolves around the "puppy love" of "Gloria" and "Tommy," "Felice" insists that "Gloria" pro- duce her "father."

Much to the amazement of his valet, "Tripps," and to his own astonishment, traveling bachelor "Richard Todd" is selected by "Gloria" to be her make-believe "father." Embarrassed many times as he is forced to verify her tall tales, "Todd" acts the part of "father" perfectly, con- vincing the teachers, chum "Olga" and doubting "Felice" that he is actually "Gloria's" parent.

Accidentally "Gloria" learns that her mother, the great "Gwen Taylor," is in Paris, just as "Todd" is leaving. Warm comedy in the train, when the ticketless "Gloria" sings to attract "Todd's" attention to her, sets the stage for the climax. Rebuffed by manager "Dusty," "Gloria" does manage to get one glimpse of "Gwen," before again seeking out "Todd" to request he send her back to school. But "Todd" senses the relationship, notes the resemblance between "Gwen" and "Gloria," turns a gather- ing of the Paris press into pandemonium when he enters to present living proof of "Gwen's"

statement that "I'll give you a big story. I'm the mother of a fourteen year old girl." Later in Switzerland, as "Todd" and "Gwen" hold hands, the singing "Gloria" realizes she will soon have a real father.

Selling "Mad about Music" to the public should be considered by any exhibitor both an opportunity and pleasure. Everything necessary for an outstanding attraction from a showman- ship standpoint is included. There's a rising young star name to shout about loudly; there's a platoon of favorably known names with which to supplement every advertising effort. There's a story in which happiness banishes sorrow, where sobs give way to laughter, where the panic that threatens tragedy to a lonely little girls is the source of enjoyment to all who watch her live it. There's delightful music and production detail of superior grade.

Publicity that accentuates the sincere human- ness of "Mad about Music" and emphasizes the intelligent contributions made to it by pro- ducer Joe Pasternak, director Norman Taurog, authors Marcella Burke and Frederick Kohner, and adapters Bruce Manning and Felix Jack- son, should bring the customers flocking to see this Deanna Durbin picture.

Previewed the Warner theatre, Beverly Hills. The press and studio audience was deeply im- pressed. Post-showing comment was admirably summed up in the concluding sentence in the Los Angeles Examiner review: "Judging from audience reaction, we advise everybody to chalk up 'Mad about Music' as a 'must see' picture." — Gus McCarthy.

Distributed by Universal. Produced by Joe Paster- nak. Directed by Norman Taurog. Screen piay by Bruce Manning and Felix Jackson. Story by Marcella Burke and Frederick Kohner. Charles Previn, Musical director. Music and lyrics by Jimmy McHugh and Harold Adamson. Orchestrations by Frank Skinner. Frank Shaw, assistant director. John Ewing, film editor. Photographed by Joseph Valentine. P. C. A. certificate number 3923. Running time 110 minutes when seen in Beverly Hills. Release date: Feb. 27, 1938. General audience classification.

CAST

Gloria Deanna Durbin

Richard Herbert Marshall

Gwen Gail Patrick

Tripps Arthur Treacher

"Dusty" William Frawley

Olga Marcia Mae Jones

Felice Helen Parrish

Tommy Jackie Moran

Annette Fusenot Elizabeth Risdon

Louise Fusenot Nana Bryant

Pierre Christian Rub

Henry Charles Peck

Sid Grauman Sid Grauman

and Cappy Barra's Harmonica Ensemble

No Time to Marry

( Columbia) Comedy

Based on a Saturday Evening Post story by Paul Gallico, who deserted newspaper work for fiction writing, "No Time to Marry" depicts the adventures of a reporter and a sob sister who are seeking to be married.

In the leading roles are Richard Arlen as the reporter, "Perry Brown," and Mary Astor as his bride-to-be and his colleague on the news- paper, the Daily Blade. In the supporting cast, and supplying most of the comedy, are Lionel Stander as a newspaper photographer and Vir- ginia Dale, as a missing heiress.

A bit slow in getting started, the story is unfolded at a rapid pace once the situation is explained in the Daily Blade office.

"Brown" and "Kay" have repeatedly been forced to postpone their marriage because one or the other has been out on a news story. "Brown" in desperation passes up an oppor- tunity to cover a missing heiress story. But "Petonsall" (Thurston Hall), managing editor, forces "Brown" to search for two goats which are to be a Christmas present to the editor's son. Through a telephone mixup, "Brown" arranges to meet the missing heiress, who joins the reporter and the photographer in their search for the goats.

"Kay" later joins the party, recognizes the heiress, and determines to break the story with- out her groom-to-be knowing anything about it.

The search is carried on in a zoo, in pet shops and finally a farm house, despite frequent and unsolicited trips to the police station for inves- tigation. Everything is finally solved however.

Reviewed at the Rialto Theatre, New York, where a late afternoon audience of men chuckled often and on a few occasions laughed heartily. — Ray Barnett.

Distributed by Columbia. Directed by Harry Lach- man. Screen play by Paul Jarrico from a story by Paul Gallico. Nat Perrin, associate producer. Photo- graphed by Allen G. Siegler; film editor, Otto Meyer; art director, Stephen Gooson; associate, Lionel Banks; interior decorations, Babs Johnstone; gowns by Kal- lock, and musical director, Morris Stoloff. P. C. A. Certificate No. 3861. Running timt 63 minutes. Release date, January 10. 1938. General audience classification.

CAST

Perry Brown Richard Arlen

Kay McGowan Mary Astor

Al Vogel : Lionel Stander

Eleanor Winthrop Winthrop Dale

Mrs. Petonsall Marjorie Gateson

Mr. Petonsall Thurston Hall

Wyatt Blake Arthur Loft

Hess Jay Adler

Abernathy Matt McHugh

Sergeant Paul Hurst

Buonacasa George Humbert

Hawaii Calls

(RKO Radio) Pathos and Melodrama

Conceivably this picture could have been made with a juvenile star other than Bobby Breen. If it had, showmen would have had for exploitation the beauty of the South Seas, the heart-touching pathos of two orphan boys mak- ing their way across 2,000 miles of ocean in search of a home and happiness, or the stirring drama of the same two unwanted boys con- founding an international spy ring. As it is, they may concentrate first on the drawing pow- er of a boy singer whose name has been broad- cast by radio, by national advertising media and by word of mouth through the cumulative ef- fect of previous successes, turning after that to bringing in the stragglers through exploita- tion of other values.

And of other values there is no stinting. Pri- marily, through the whole picture runs the thread of the potent fascination for the islands, summed up in the strains of "Aloha Oe," which, through the wide dissemination of travel bureau liaterature, the ubiquitous ukelele and the fre- quently maligned hula dance, has been exerted upon literally millions of Americans. Added

(.Continued on facie 40)

Ale GUe&Una

DURANTE

the one aH(df only k'$chnozzola"!

CONNOLLY

as grand in comedy as in drama!

JOAN PERRY

the new sweetheart of millions!

CHARLES STARRETT

six feet two of romancin he-man!

PROFESSOR OUIZ

the radio sensation of the hour!

GERTRUDE NIESEN

the hot-cha queen of torrid tempo!

RAYMOND WALRURN

professor of cuckoo rah-rahology!

THE THREE STOOGES

mad masters of daffy delirium!

DRODERICK CRAWFORD

star of B'wav's "Of Mice and Men"!

HAL LcROY

tip-tapping his gaga way to the top! ERNEST TRUEX * VIRGINIA DALE * CH AZ. CHASE JIMMY WALUNGTON • LOUIS PRIMA v

and

JOHNNY GREEN

AND HIS ORCHESTRA

a great jammin' dance aggregation!

40

MOTION PICTURE HERALD

March 5, 1938

(Continued from page 37)

to this are a well constructed story which wise- ly does not revolve entirely around Bobby, the peculiar and popular humor of Ned Sparks, some appealing acting by a young Hawaiian boy who is Bobby's orphan companion, singable and lingering melodies, the music of Raymond Paige's orchestra, and outstanding scenic pho- tography.

The story is simple but well proportioned and kept in its place. A young orphan and his Hawaiian companion, determined to find a home with the Hawaiian's relatives on the island of Maui, stowaway on a passenger liner leaving San Francisco for Honolulu. Discovered and befriended by a member of the ship's orchestra, they escape at Honolulu with his help and are welcomed by the native family. They are in- strumental in the capture of an international spy ring whose members have stolen naval plans from an officer who, as a consequence, clears up their difficulties with the steamship officials and the police. The boys' adventures end with adoption of the American youth by the officer.

Through this straightforward plot comedy, song, suspense and scenic beauty are inter- spersed in agreeable proportion. The musical numbers assigned to Bobby are introduced without strain and are not so numerous as to appear the sole reason for the production.

Previewed in projection room. — James D. I vers.

Produced by Principal Productions for distribution by RKO Radio Pictures. Sol Lesser, producer. Di- rected by Edward F. Cline. Screen play by Wanda Tuchok. Photographed by Jack McKenzie. Art director, Lewis Rachmil. Musical supervisor, Abe Meyer. Dance director, Aggie Auld. Wardrobe by Waldron Johnson. Film editor, Arthur Hilton, Assis- tant director, John Sherwood. Sound technician, Hugh McDowel, Jr. Adapted from the novel "Stowaways in Paradise" by Don Blanding. Songs "Hawaii Calls" and "Down Where the Trade Winds Blow," by Harry Owens, "That's the Hawaiian in Me," by Johnny Noble. Running time, when seen in New York, 72 minutes. P. C. A. Certificate No. 4007. Release date, March 11th. General audience classification.

CAST

Billy Coulter Bobby Breen

Strings Ned Sparks

Captain O'Hare Irvin S. Cobb

Commander Milburn Warren Hull

Mrs. Milburn Gloria Holden

Doris Milburn Juanita Quigley

Hina ....Mamo Clark

Pua Pua Lani

Raymond Paige Raymond Paige

Harlow Herbert Rawlinson

Mrs. Harlow Dora Clement

Julius Philip Ahn

Raymond Paige and His Orchestra

Dangerous to Know

{Paramount) Melodrama

"With "The Buccaneer" adding daily to his fame for his performance as the cannoneer, Akim Tamiroff 's name is an ascending box office value. Here he is listed second to Anna May Wong, also on the upswing just now, but his part is the principal one and the story is built around him. These two are, just now, perhaps the best names available for use in exploiting this melodrama, although Gail Patrick and Harvey Stephens are the pair happily married in the final closeup and other names include Roscoe Karns, Lloyd Nolan, Hedda Hopper and Anthony Quinn.

Mr. Tamiroff plays "Stephen Recka," polished gangster in control of the city's politics and finances. Social ambitions lead him into trouble when he seeks to force socialite "Margaret Van Kase" to marry him by framing her sweetheart, "Philip Easton," as an embezzler. "Lan Ying," the gangster's household hostess (it is empha- sized), commits suicide and a police inspector, unable to convict "Recka" of eight known murders, arrests him on what he knows to be the false but provable charge of killing her. The young folk fly away to matrimony.

The picture is from a play by the late Edgar Wallace, whose pen was both prolific and bloody. The treatment, in screen play by Wil-

liam R. Lipman and Horace McCoy and the direction of Robert Florey, is unique. Edward T. Lowe is associate producer. (An inter- polated gramophone rendition of "Thanks for the Memory" is a nice ad for "The Big Broad- cast of 1938," another Paramount picture, but stops this one in its tracks for longer than is good for it.)

Previewed at the Stadium theatre, Los An- geles, to an evidently satisfied audience. — William R. Weaver.

Produced and distributed by Paramount. Associate producer, Edward T. Lowe. Directed by Robert Florey. Assistant director, Stanley Goldsmith. Screen play by William R. Lipman and Horace McCoy, based on a play by Edgar Wallace. Photographed by Theodore Sparkuhl. Film editor, Arthur Schmidt. P. C. A. Certificate No. 3989. Release date, March 11, 1938. Running time, 68 minutes. Adult audience classifica- tion.

CAST

Madam Lan Ying Anna May Wong

Stephen Recka Akim Tamiroff

Margaret Van Kase Gail Patrick

Inspector Brandon Lloyd Nolan

Phillip Easton Harvey Stephens

Nicholai Kusnoff Anthony Quinn

Duncan Roscoe Karns

Mayor Bradley Porter Hall

Butler Barlowe Borland

Mrs. Carson Hedda Hopper

Harvey Greggson Hugh Sothern

John Ranee Edward Pawley

Crouch Eddie Marr

Hanley Harry Worth

Councilman Murkil Robert Brister

Senator Carson Pierre Watkin

Sally, Irene and Mary

(20th Century-Fox) Musical Comedy

It would be pretty hard to find a place where the title of this production doesn't possess box office strength. It would be harder to find one where less than six of the names available for marquee display are of known pulling power. Adding title to cast to score, and mixing well with appropriate adjectives, the showman dis- posed to break out a full spread of sail would seem practically doomed to make some money with the picture. It's built that way.

No doubt a good many communities where Fred Allen's radio program is strong will turn out in force to see the comedian on the screen, where they'll probably see much more of him later on. There are Jimmy Durante communi- ties, too, and there's been quite an increase in thfe Joan Davis-conscious population the last several months. The Gregory Ratoff public has checked in importantly at various box offices on occasion, and there is of course, a substantial Louise Hovick bloc, now that Min- sky's has been liquidated. The Raymond Scott Quintette has its own allure for the college crowd, of all ages.

These are the persons who support Alice Faye and Tony Martin in the leading roles, "leading" being used here in the sense that they are the two who marry at fadeout time. Actu- ally, although both have plenty of singing to do, and the lady also does some varied step- ping, their romance just goes on quietly be- tween production numbers and comedy se- quences, never impeding the practically continu- ous activity of the assorted entertainers also involved, however lightly, in the narrative.

Gene Markey, who learned his musical com- edy inside and out before Broadway went 5 & 10, whipped up the new "Sally, Irene and Mary" with an eye and ear to today's tastes. The play of the title was by Edward Dowling and Cyrus Wood. The story of the picture, by Karl Tunberg and Don Ettlinger, was sug- gested by this play. Then Harry Tugend and Jack Yellen wrote the screen play from that. That would have been about the point at which Mr. Markey and director William A. Seiter came in and decided to just go ahead and make the picture. Whether or no, the work bears the Markey imprint, the light tough and the suave manner acclaimed by the cinema public as displayed in "On the Avenue," a 'directly comparable offering.

Music is from three sources. Raymond Scott,

of the Quintette contributed "Minuet in Jazz," the best single item in the picture. Gordon and Revel turned in two song numbers, and five more were had from Walter Bullock and Harold Spina. The radio is now in the process of de- termining the best of these, with "I Could Use a Dream" leading at the moment.

Previewed at the Alexander theatre, Glen- dale, Cal., where a picture-wise audience seemed to like it quite well. — W. R. W.

Produced and distributed by 20th Century-Fox. _ As- sociate producer, Gene Markey. Directed by William A. Seiter. Stage play by Edward Dowling and Cyrus Wood. Original story by Karl Tunberg and Don Ettlinger. Scren play by Harry Tugend and Jack Yellen. Music and lyrics by Walter Bullock and Harold Spina, Mack Gordon and Harry Revel, and Raymond Scott. Dances staged by Nick Castle and Geneva Sawyer. Photography, Peverell Marley. Film editor, Walter Thompson. P. C. A. certificate, 3937. Release date, March 4, 1938. Running time, 85 minutes. General audience classification.

CAST

Sally Day Alice Faye

Tommy Reynolds Tony Martin

Jefferson Twitchelt Jimmy Durante

Gabriel Green Fred Allen

Baron Zorka Gregory Ratoff

Irene Keene ; Joan Davis

Mary Stevens Marjorie Weaver

Joyce Taylor Louise Hovick

Oscar Barnett Parker

Pawn Broker J. Edward Bromberg

Raymond Scott Quintet Themselves

Captain Eddie Collins

Judge Andrew Tombes

Specialty Brian Sisters

Miss Barkow Mary Treen

Cafe Manager Charles Wilson

The Port of Missing Girls

(Monogram) Melodrama

The chief exploitation assets are the title and the locale of most of the action — Shanghai and upper China. The plot is strictly formula and the performance of a kind.

Judith Allen, the feminine lead, sings "Dream Cargo" and "One Night One Kiss" (music by Charles Rosoff and lyrics by Eddie Cherkose), and the oldtime favorite, "Long, Long Ago," in pleasing voice, but the singing hit is made by Jane Jones, local night club entertainer, in the presentation of "I Changed My Routine," by Rosoff and Cherkose.

Others in the cast are Milburn Stone, Harry Carey, Betty Cornpson, Matty Fain, Eddie Kane, George Cleveland, William Costello, San- dra Karina, Lyle Moraine and Louis Vincent.

Judith Allen has the role of a San Francisco night club entertainer, who is implicated, al- though innocent, in a gang murder. She stows away on the boat of a woman-hating captain, played by Harry Carey, who agrees to take her to Shanghai, "the port of missing girls," so she can hide from the authorities. She falls in love with the ship's radio operator (Milburn Stone), and agrees to stay at the combination boarding house night club in Shanghai while the captain takes his ship up the river with a cargo of guns for the Chinese government. Hearing of a plot of enemies of the Chinese to seize the vessel, the stowaway gives herself up to the American consul so that he can warn the ship of the peril. In a gunfight the enemies are vanquished, American authorities solve the slaying and the girl is freed. — Vance King, Hollywood.

Produced and distributed by Monogram. Producer, Lon Young. Directed by Karl Brown. Original screenplay by Karl Brown. Photography by Gil Warrenton. Assistant director, Mike Eason. Sound, W. C. Smith. P. C. A. Certificate No. 4055. Running time, 65 minutes. Release date, February 23, 1938. General audience classification.

CAST

Delia Judith Allen

Jim Milburn Stone

Captain Storm Harry Carey

Chicago Betty Compson

Duke Matty Fain

Minnie Jane Jones

Clinton George Cleveland

Manoel. Wm. Costello

Sonya Sandra Karina

Granville Lyle Moraine

(Continued on page 42)

We beg to advise that after seeing and previewing it to some 300 exhibitors, we are convinced that—

IS THE BEST PICTURE WE'VE EVER

The New Universa

42

MOTION PICTURE HERALD

March 5, 19 3 8

Call the Mesquiteers

( Republic ) Western

The three Mesquiteers, Bob Livingston, Ray Corrigan and Max Terhune, pit their skill and daring against a gang of silk thieves in this fairly entertaining if unexciting western. Ro- mance, usually an important element in the series, is missing this time.

Opening on a freight train the story pictures the thieves dumping bales of raw silk from the train, where they are picked up by confederates in trucks. Leaving the scene, one of the trucks is wrecked in an accident, so the three occupants stop the first vehicle that comes along, a truck containing the Mesquiteers and three horses. The law catches up with the truck and in a gun battle the thieves are killed.

The Mesquiteers, accused of being members of the gang, escape and head for Cosmopolis, destination of the slain henchmen of the bandits. En route the Mesquiteers lend assistance to a medicine salesman, his daughter and young son, whose auto is stalled. The group arrives in Cosmopolis, a ghost town. The salesman's son chances upon the hideout of the gang, who kid- nap him. The Mesquiteers follow on horseback and in a gun battle the last of the outlaws are captured.

Previewed in projection room in New York. Paul C. Mooney, Jr.

Produced and distributed by Republic. Associate producer, William Berke. Directed by John English. Screen play by Luci Ward. Original story by Ber- nard McConville. Based on characters created by William Colt MacDonald. Production manager, Al Wilson. Unit manager, Arthur Siteman. Photography by William Nobles. Editor, Lester Orlebeck. Musical director, Alberto Colombo. P. C. A. Certificate No. 4,066. Running time, 56 minutes. Release date, March 7, 1938. General audience classification.

CAST

Stony Brooke Bob Livingston

Tucson Smith Ray Corrigan

Lullaby Joslin Max Terhune

Madge Lynn Roberts

Dr. Irving Earle Hodgins

Tim Sammy McKim

Hardy Eddy Waller

Phillips Maston Williams

Lefty Eddie Hart

Joe Pat Gleason

Frank Roger Williams

Mac Warren Jackson

Sheriff Hal Price

Dog Flash

Hollywood Stadium Mystery

(Republic) Murder Story

For a mystery story involving two murders and sundry other complications thrills have been given less attention than a comedy romance re- volving around the district attorney and a girl fiction writer who get in each other's way try- ing to solve the crimes. Cast performance be- comes a larger exploitation asset than story.

In the role of district attorney Neil Hamilton makes the most of a rather weak starring part and Evelyn Venable as the writer turns in the best performance of the cast. Others in capable character roles include Jimmy Wallington, Bar- bara Pepper, Lucien Littlefield and Lynn Rob- erts. Smiley Burnett, shadow of Gene Autry, appears briefly in an excellent imitation of a broadcast of an auto speed race.

"Bill Devons" (Hamilton) meets "Polly Ward" (Miss Venable) at a gathering of crimi- nologists. Later while "Polly" and her agent are attending a championship boxing bout the challenger is murdered. "Devons," district at- torney, is called upon to handle the investiga- tion. Suspicion centers around the group at the ringside. When one of the suspects is found murdered the district attorney arrests "Edna" (Lynn Roberts), who is found unconscious a few feet from the crime.

"Polly" has her own ideas about the crimes

and accuses the radio announcer. He in a coun- ter move transfers suspicion elsewhere. "Polly" finally finds out who the murderer is, at an- other boxing bout. The killer kidnaps her, takes her to his apartment and is about to kill her when the "marines" arrive. •

Previewed in projection room in New York. —P. M.

Produced and distributed by Republic. Associate producer, Armand Schaefer. Directed by David How- ard. Screen play by Stuart Palmer, Dorrell Mc- Gowan, Stuart McGowan. Original story by Stuart McGowan. Production manager, Al Wilson. Pho- tography by Ernest Miller. Supervising editor, Mur- ray Seldeen. P. C. A. Certificate No. 4046. Running time, 66 minutes. Release date, February 21, 1938. General audience classification.

CAST

Bill Devons Neil Hamilton

Polly Ward Evelyn Venable

Nick Nichols Jimmy Wallington

Althea Ames Barbara Pepper

Watchman Lucien Littlefield

Edna Lynn Roberts

Jake Charles Williams

Slats Keefe James Spottswood

Mortimer Reed Hadley

Captain Filsom Robert Homans

Champ William Haade

Ace Pat Flaherty

Announcer Dan Tobey

Smiley Smiley Burnette

Max Al Bayne

She Married an Artist

( Columbia) Comedy Romance

Thematically based on the socalled tempera- mental nature of artists and fashioned into a modern, fast paced comedy romance of the sort currently fashionable in Hollywood, this Col- umbia picture is not in the same class with its "The Awful Truth" but it is lively and enter- taining, with light treatment even of the sup- posedly more serious sequences.

The screen play by Gladys Lehman and Delmar Daves, based on a story that appeared in the Saturday Evening Post, concerns a French clothes designer who marries an Amer- ican artist, illustrator for magazines, with situation after situation prolonging their honey- moon and threatening divorce before the happy ending.

John Boles and Luli Deste are a handsome team, a distinct asset of the production. Miss Deste is one of Hollywood's newest importa- tions, and if the picture is any criterion, one of the best. In supporting roles are some excellent character players, including Frances Drake, Alexander D'Arcy and Helen Westley.

"Antoinette" (Luli Deste), arriving in Amer- ica, denounces "Lee Thornwood" (John Boles) as an artist. "Lee," who knew "Antoinette" in Paris five years earlier, rushes to demand a retraction. The upshot of the meeting is a wedding.

"Lee," comforting his tired model "Sally" (Frances Drake), kisses her. "Antoinette" wit- nesses the scene but her calm disconcerts "Lee."

A divorce is agreed upon. "Lee" goes to Chicago to complete his work. While there he reads a newspaper interview with "Antoinette" in which she accuses him of being too tempera- mental. "Lee" takes the first plane for New York to have it out with his wife, a meeting that culminates in a happy reunion.

Reviewed at the Criterion theatre, New York. The picture drew laughs and chuckles from the audience, who apparently enjoyed the picture. — —P. M.

Produced and Distributed by Columbia. Directed by Marion Gering. Screen play by Gladys Lehman and Delmar Daves. Based on a story by Avery Strakosch. Produced by Sidney Buchman. Photography by Mer- ritt Gerstad. Editor, Viola Lawrence. P. C. A. Cer- tificate No. 3,669. Running time, 78 minutes. Release date, November 25, 1937. Adult audience classification.

CAST

Lee Thornwood John Boles

Antoinette Luli Deste

Sally Dennis France.s Drake

Martha Moriarity Helen Westley

Philip Corval Alexander DArcy

Whitney Holton Albert Van Dekker

Jacques Marek Windheim

Paul Franklin Pangborn

Betty Jacqueline Wells

Somewhere in Paris

( U nicer sal-Mentone ) Musical Variety

Memories of an estranged husband arid wife bring a cutback to the scene in a Paris cafe the night they met while he was with the A.E.F. Dances and songs in the vaudeville mode of the day follow as the entertainment meat of the film. Of these an apache dance by the Thiee Samuels and several glee songs by Yost's V ar- sity Eight deserve mention. Running time, 17^4 minutes.

Latin Rhythm

(Nu-Atlas) Songs and Dances

In a Spanish patio setting, four singing and dancing acts are presented with Luba Malina, one of the singers, serving as master of cere- monies. She first introduces the Mia Miles Foursome and after their adagio presentation Jan Peerce, tenor at the Radio City Music Hall, sings. Mr. Peerce then calls upon Miss Malina to sing a comedy number and the film closes with the Dansapators, 12 dancers, offering their routine with Mr. Peerce and Miss Malina sing- ing. Running time, 11 minutes.

Screen Snapshots, No. 6

( Columbia )

Informative

The "tops" in the revelatory material con- tained in this latest screen bulletin from the wonderland which is Hollywood is the presenta- tion of that major social, historical and artistic event called a film premiere. The occasion is the opening of "The Hurricane." Compared to this lavish and important happening, the business of the James Gleasons entertaining a paltry number of two hundred visiting movie fans, the shooting of a collegiate picture on location, the arrival of the latest imported Euro- pean screen stars and the Ritz Brothers memorializing their marks in the Grauman col- lection of famous footprints seem trivial matters. Running time, 10 minutes.

Cleaning House

(MGM)

Cartoon Cutups

Translation of the pen and ink characters of the Captain and the Kids is effected with all the amusement and ingenuity of the original car- toon and amplified. The Captain attempts to avoid the unpleasant task of helping in the family house cleaning by pretending to be ill. How the kids pose as the attending medico to administer a disagreeable dose of rough house treatment affords high moments of grand fun and clever cartooning animation. This newest addition to the comic category should tickle the collective funny bone of the family audi- ence.— Running time, eight minutes.

In the Swim

(RKO-Radio) Pathe Sportscope

Swimming and diving, as the title implies, are featured in this reel which was made at swim- ming resorts in and around Miami, Fla. The film opens with a shot of a graceful swan dive from the topsail yard of a square rigger an- chored in Biscayne Bay. Then the form and rhythm of Olympic champions is shown in a series of dives at various pools. Marshall Wayne does a half-Gaynor and a full twist. Jane Fauntz executes a back dive with a full twist and at the same time, Joe Bolton, narrator, explains that the dive is one of her own invention and never shown on the screen before. Tony Zukas, acrobatic diver, also goes through his routine. — Running time, 10 minutes.

THE SOLUTION

FINE grain, solver of many a photographic problem, has finally overcome the problem of duplicating. Eastman Fine Grain Dupli- cating Films are capable of making "dupes" that cannot be distinguished from originals. Now the original in the laboratory and the duplicate in the vault can be actually equal in quality. Eastman Kodak Company, Rochester, N. Y. (J. E. Brulatour, Inc., Dis- tributors, Fort Lee, Chicago, Hollywood.)

EASTMAN Fine-Grain

DUPLICATING FILMS

44

MOTION PICTURE HERALD

March 5, 1938

QUALITY OF FRENCH PRODUCTION SEEN AT PEAK IN AWARD PICTURES

Many of 123 Films Produced In 1937 Outstanding; New Talent Gives Promise of Successful Year to Come

by PIERRE AUTRE

in Paris

Great improvement in the quality of the French production, a revival which may be said to have started two years ago, in 1937 reached a point which exceeded the most optimistic predictions.

The awards granted last September, at the Venice Biennial, to three French films, "Un Carnet de Bal" ("Dance Pro- gramme") ; "Les Perles de La Couronne ("Pearls of the Crown"), and "La Grande Illusion" ("The Great Illusion"), were con- firmation of the improvement.

That 1937 was important for the French Cinema, perhaps more so morally than financially, as it is still too early to know the financial results, is shown not only by the awards but also in the unprecedented success, in France and in many foreign countries of some French films and in the opinion of foreign buyers and of foreign critics that French production has attained a place among the best in Europe.

It must be said that this high quality concerns only 20 per cent of the whole yearly production, which means about 25 of the 123 feature films turned out in 1937. Of these 123 films, 25 others were of good average quality and may be ex- ported, and about 70, mostly comedies and rather vulgar farces, are not exportable and are suitable only for exhibition in France.

The 1937 total of 123 feature films represents the highest in recent years, compared with 117 in 1936, 115 in 1935 and 108 in 1934.

The total cost of the French production for 1937 can be estimated at about 225 million francs (about $7,500,000). The average price of $89,000 for a French film was the cost esti- mated last September, compared with $57,000, two years before. As the cost has not stopped increasing since June 1936, after the coming of the new Government, the application of new social laws, higher wages and higher cost of living, films produced at the beginning of 1937 were cheaper than those produced now.

In spite of this increase, the cost of a French film may still seem rather low to American or British producers. Outstanding French films, such as "La Grande Illusion." "Pepe le Moko" or "Un Carnet de Bal" did not cost more than between $100,000 and $130,000 each.

The improvement in production, which has been noticed this year by film people all over the world, is not accidental. Its reasons are various and can be deduced from the following

f 2lCtS.

The first thing to be noted is that the revival started with the disappearance, three vears ago. of the only two big French producing com- panies, Gaumont and Pathe-Natan, each of which turned out regularly 20 to 25 films yearly.

It happened that the independent producers who previously had suffered from the competi- tion of these concerns, found the whole market free for themselves. This opened to them op- portunities they had never had before. More- over, directors, artists, cameramen and writers.

IMPROVEMENT SEEN IN FRENCH FILMS

French pictures have been improved with the result they are making in- roads upon American distribution, William Sussman, eastern division manager for Twentieth Century-Vox, announced when he arrived in New York last week from a