FILMS

RADIO

VIDEO

MUSIC

STAOE

VOL. 181 No. 4 NEW YORK, WEDNESDAY, JANUARY 3, 1951 PRICE 25 CENTS

TOP MONEY FIX AND STARS OF

How Ethel Barrymore, 26,

Interviewed Ashton Stevens, 33

Chicago, -f-

Variety i' 45 years old today.

So what could be timelier for this Anniversary Number than the following interview with the lad who is now called the Dean of American dramatic critics — just as it was written for the San Francisco Examiner 45 years ago by the unassisted lovely girl who is now the first of American actresses. Not a line has been altered for this revival.

ASHTON STEVENS.

Bv ETHEL B.\RRYMORE

Having been interviewed several times since I first entered the “pow- der puff life” (See Ashton Stevens’ Collected Works), I have suddenly

come to the conclusion that the time of revenge is at hand. To avoid inform- ing the gasp- ing public for the 4 , 0 L 0 t h time that I simply love my Art; was p r a c t i c ally

„ born on the

Ethel Barrymore

my relatives really are my rela- tives; that my favorite role is the part I am at present playing (hop- ing that the said public will flock at once, and not live on the favor- ite role I spoke of last year, nor await the favorite role I shall por- tray next year), I, wishing ':o avoid all this, think that I shall turn the tables and interview an interviewer (Continued on page 59)

^Outlaw’s’ Big Payoff

Not to be lost sight of among the high-grossers of 1950 is the strange case of “The Out- law.” The Howard Hughes film, made before the war and originally released by United Artists in 1946, moved up un- der RKO distribut’on during the past year into the class of the first 20 all-time b.o. lead-

0J7S,

’^t grossed $3,050,000 via UA and then took another $1,960,- 000 in rentals out of U. S. and Canada in 6,500 engagements during 1950. That gives it a total domestic gross expecta- tion of about $5,075,000.

Final Severance Of U.S.-Red China

Picture Relations

q	iir	1	11	mm
u	N •	1	]

Les Craps Very Popular At Monte Carlo Casino With the Management

By JOSEF ISRAELS II

Monte Carlo.

The Society of the Strangers and of the Baths of the Sea — that’s the formal moniker (no kidding) of the Monte Carlo Casino — is well satis- fied with results of “Les Craps,” the genuine Las Vegas type of gal- loping dominoes installed more than a year ago in the ancient, dingy halls of what’s still the world’s most ambitious gambling enterprise. Dice tables under direction of multi-lingual croupiers Pierre Bissi and Emile Jaufret, who journeyed to Yankeeland to learn the patter, do a modest but steady biz and most of all, serve to make U.S. chumps who are un- educated to the nuances of roulette and baccarat feel at home and maybe eventually wander to other tables, where they can be taken for more than the current 20,000 franc ($58) limit of the craps table.

Management admits many Yanks squawk they can’t really get warmed to action under such wraps. But directors describe their view of the dice as “still very conservative,” and want some long term experience with play-and- (Continued on page 67)

Edict of China’s Red govern- ment calling for seizure of Amer- ican-owned property and freezing of bank deposits served as the final and complete severance of contact between .U. S. film firms and their native representatives and physical assets in China. Actually the China market has been regarded as a loss for some time, for the most part. However, the distress- ing aspect of the situation is that the American producers have hun- dreds of prints in that country, prints which the Americans prob- ably would prefer to destroy ra- ther than have them in the hands of the Communists.

Although there is no contact I with homeoffices in N. Y., it’s un- derstood local Chinese staffs, which had been in the employ of the U. S. film companies, are continu- ing to operate on their own. They’re in possession of the prints and free to license them to any (Continued on page 265)

Lester Santly Sells Out To Geo. Joy for 250G

Lester Santly, co-founder of the firm bearing his name, last week sold his 50Co ownership. in Santly- Joy Music to his partner, George Joy, for $250,000. Leaving the pub- bery on friendly terms, Santly is retiring from the music business for an indefinite period. Joy also takes over lOO'^n in the subsidiary Oxford Music Corp.

Santly organized the firm of Santly Bros, with his .brothers Joe and the late Henry Santly 21 years ago. Joy joined the company in 1934 as an equal partner. Santly, currently president of the Music Publishers Protective Assn, and a board member of the American So- ciety of Composers, Authors and Publishers, is also resigning both of these posts.

By HERB GOLDEN

“Samson and Delilah” proved an easy winner as top-grosser of the year in the 1950 film boxoffice sweepstakes. Far behind the Paramount spec, but nevertheless turning in very respectable figures, were “Battleground” and “King Solomon’s Mines,” both from Met- ro, and “Cheaper By the Dozen” (20th), in that order.

Cecil B. DeMille’s Technicolored giant, with at least $11,000,000 eventually likely in U. S. and Ca- nadian rentals, not only was top- grosser of all films released dur- ing the past year, but took its place behind only “Birth Of a Nation” and “Gone With the Wind” as the greatest revenue-producer in the entire history of the industry. It shouldered 1947’s “Best Years Of Our Lives” and “Duel In the Sun” from the runner-up positions.

“Battleground” will have rung up $4,550,000 in rentals by the time the final tally is in, to take the sec- ond spot among 1950 releases. Other of the year’s pix that gained entry into the over-$4,000,000 cate- gory— that select Golden Circle — were “King Solomon’s Mines” with $4,400,000; “Cheaper By the Dozen,” $4,325,000; Metro’s “Annie Get Your Gun,” $4,200,000; Walt Disney’s “Cinderella” (RKO), $4,- 150,000, and Metro’s “Father Of the Bride,” $4,150,000.

All the figures are expert pro- jections, based on engagements played by the films to the end of the year and what may be ex- pected in “domestic gross.” In trade parlance that means film rentals received by the distribs from the U. S. and Canada.

James Stewart with four pictures that grabbed a total of $9,225,000 and Spencer Tracy with three gar- nering $8,800,000 made the greatest definable contributions of the male stars to the b.o. during the year. Betty Hutton leads the femme con- tingent with two pix that took a total of $6,600,000. Victor Mature, George Sanders and Hedy Lamarr all rolled up bigger figures than those above, but their bulk was from “Samson.”

As in the past, the contribution of stars to any film’s success was almost impossible to figure. Despite the varied popularity polls of trade and public, many formerly well- rated marquee luminaries failed to .show b.o. strength, Variety’s an- nual roundup of top-grossing pix of the year reveals. It takes a good script and a complex of other fac- tors aside from a star to get results. (See separate story.)

Top-money directors of the year among those who were rateable on the basis of more than a single pic (Continued on page 58)

’SO End of Era for Stars and System; Swanson Cues Comeback Potentials

Minimum Contractees

Hollywood.

Year-end survey shows term contracts in the studios at their lowest point in 25 years. Actors, writers, directors, pro- ducers and backlot department heads are the hardest hit.

Last actor survey, as of March 1, showed 315 under contract as against 750 in 1947. Contract writers as of Novem- ber are down to 50 out of an active Screen Writers Guild membership of 644. Eighty of 280 Screen Directors Guild members are termers, 20 of whom have one picture deals. About lO of the 80 combo pro- ducer-directors or writer-di- rectors and virtually all as- sistant directors are on a week- ly basis.

Bagnall Would Be UA Prez Via Grinieff Setup

George Bagnall, former United Artists vicepresident and produc- tion liaison, would return to the company as management head un- der the proposals outlined by Jacques Grinieff for bringing UA through its present crisis. Plan was reported in N. Y. this week following Grinieff’s departure for the Coast, presumably for huddles with Bagnall and attorneys for UA co-owners Mary Pickford and Charles Chaplin. Grinieff was due in Hollywood yesterday (Tues.) fol- lowing a Chicago stopover.

Grinieff’s aim is to get 12 new films into virtually immediate re- lease by UA and in this way ease the economic pressure currently being caused by lack of product. Additionally, he would arrange for some operating coin. Third part of his plan is to place (Continued on page 265)

The year 1950 was clearly one of decision for many a Hollywood name — and, as a matter of fact, for the star system as a whole. Tolling of the bell for many middle-aged players whose names have been synonymous with the best b.o. of all times is clearly echoed in .an analysis of the films in Variety’s current list of top- grossers of the year — and, even more importantly, the films that failed to make the list.

A handful of old-line stalwarts are still well-represented on the list (printed herewith), but a good many are off oi it altogether or perilously close to the bottom. On the other hand, there are a few new names, but none of them that rings with the erstwhile power of the Cary Grants and Gary Coopers and Joan Crawfords.

For the star system as a whole, 1950 marked the end of an era. Dependence on stellar names as b.o. insurance, on the downgrade since the end of war, reached its lowest ebb. The discouragement of producers, distribs and exhibs over failure of many of the stars to sell tickets, was clearly giving way, as was indicated in Variety’s lead story last week, to recogni- tion that new star development is vital to the business. At year’s end most studios were hammering with a new determination at the problem of creating fresh faces with real name value.

This time the determination was coupled with recognition that a (Continued on page 59)

Early Deadline

This edition of Variety went to press ahead of the normal Tuesday deadline.

Production detail, binding, etc., and the size of this 45th Anniversary Number made it necessary to omit certain stan- dard departments.

Loew’s 30-Day Delay Cues Truce With Govt

Thirty-day extension for Loew’s : filing of divorcement and theatre ! divestiture plans was granted by I the U. S. statutory court in N. Y. ;iast Friday (29). New deadline is •Jan. 31.

i New delay could have the effect of giving the'major added opportu- nity for discussions of a possible settlement of the trust case with the Department of Justice. While the Warner Bros, pact already has been set, and a 20th-Fox consent decree is impending, Loew’s here- tofore had been the only remaining defendant in the suit to appear headed for another court battle. If it decides on a D. of J. truce, it would mean the end of the 12-year- old industry case.

Flash! NBC Prexy Going On CBS Network as Ford Yields to Look Mag Awards

NBC prexy Joseph H. McCon- nell will make his first appearance on a regular program of a rival network when he and CBS prez Frank Stanton accept two of Look Magazine’s annual video awards on CBS-TV’s “Ford Theatre” Jan. 12. The web toppers will be kudosed by Look chief Gardner Cowles for their networks’ coyer- age of the United Nations sessions.

On that date Ford, which was also honored by the publication, is dropping its regular dramatic format for an all-star show on which 14 of the 16 winners of Look’s annual honors will appear. Ed Sullivan will emcee and other award-winners to take part will be: Arthur Godfrey, Dave Garro- way, Faye Emerson, Sid Caesar, “Studio One” producer Worthing- ton Miner, John Cameron Swayze, Paul “Mr. I. Magination” Tripp, “Your Show of Shows” producer Max Liebman, Robert Montgomery, “Studs’ Place” and “Dave Garro- way” writer Charles Andrews and ABC-TV designer James Mc- Naughton. Representing Gillette’s “Cavalcade of Sports” will be Mel Allen, Jimmy Pewers and Connie Desmond.

Jimmy. Durante and Milton .Berle, also cited by the mag, are expected to be out of Gotham on ithe telecast date.

PICTURES

Forly^fth I^ARIETY Anniversary

Wcclncsday, January 3, 1951

By HARRY HERSHFIELD

the

Cestus-fisted gladiators in the , boys,” ring or stage. Ruby Robert’s Roman arena gave fighters the i love making to the beautiful theatrical hint for the future, ! heroine was something to behold when Spartacus’ opening line to I -^and he held her in his arms also,

Nero was: ;‘Wel\vhen the show’s run was over, and who are about tasked her to be his wife, in truth.' to die salute : He also played in “Uncle Tom’s you!” It didn’t Cabin,” with “Senator” Ed Ford take a prize- ' desGribing Fitz;simmons: “Ana- fighter long i tomically he Was great— Uncle after that to Tomically he was awful.” v fin.d.out it was > . . Up to now, where fight, cham-. more comfort- pious trod the boards, they wel’e

Hai'iy Hcrsh field

able to “hit the boards” than the can- V as. And many boxers s i n c e have supposed softer

“died” on the stage, with their swiftly concocted acts. Yet; the audiehce comes to Cheer their hero’s puhch, rather than his. punchline. After winning a championship, naturally the story must make him a great fighter for virtue, save the heroine and sign autographs. Some of them write as though they still have their boxing gloves on. But our fighter-hero . must . never . con- quer via the gun or knife— but only with a sudden left feint and then with the right on the villain’s button.

Nearly 50 years ago, I trailed Terry McGovern down Halsted

maihly the heroes of the gallery crowd, who did most of the whistling and cheeringi They aWays kept an eye on any seat .in the orchestra .that , might suddenly be vacated by some “swells” who might leave after the first act, satisfying their vicarious desires tContinued on page 265)

Snader ’s Personal Plea to Marg. Trum^

Hollywood.

Lou Snader is planing to Wash- ington . Saturday ( 6) to make a j personal pitch to, Margaret Truman : to make a scries of telescriptions. ' He wrote her, after getting a turn- down from her personal mahager, James A, bavidson, and subse- quently received a letter-from her Street, Chicago, to where he was personal secretary which said that playing at the Academy, in a show, the President's daughter “appreci- if I remember, called “Broadway After Dark.” Really should have been called “Sam Harris After Money,” for that’s what the future renowned producer, then his man- ager, must have thought of first, and only as a second thought,

Terry McGovern as an actor.

This Is Where We Came In

Color TV* theatre TV, 'TV vs. the b.o., or just TV— what does it matter compared to the state of the world and the preserva- tion of the nation?

Things were hot so nifty In ’50, and it’s not going to be fun in ’51. This is where we came in 10 years ago. The same prob- lems and sacrifices brought on by World War II are with us all over again.

in its 45 years Variety has chronicled a cavalcade of show busihess . almost . f rom . the turn of the century. First it • was vaudeville in its heyday, then the silents, then the mushrooming of a new giant; radio, coincidental with the revitalization of the film industry via the introductioh; Of sound. Following the de- pression, and the war’s attendant resuscitation for all show business, the postwar years saw the development of still another .entertainment giant-^televisioh. ;:

In between there have been economic peaks and. valleys, keyed to the national picture and world affairs. NO nian is an entity unto himself, nor is any, nation— and certainly no industry, least of ail show business.

Defense dollars will bpom spending. Aiid, if the sam6 shortages occur as after Pearl Harbor, then certainly the box- B .j D i . hffice in all its aspects will feel the militaristic u^

Ringimg Bros., Bgrnumcan^ ai ey . something no industry cliooses. Xh the interim, for show busi-'

' ness— as for the world— its a case of this-is-where-we-came-in.

WILL MAHONEY

tHE INIMITABLE

. Currently

. Fourih .

. Represented by ASSOCIATED BOOKING CORP.

What' show busihess did to heip our cause in World War II it will do again, of course. Let’s hope the world crisis will resolye itself before that’s necessary. Abel.

Joseph Burstyn, cUstributor of the ; GeiisoWhip statutes empowciing who sou.ght a pchiia- ,

one man to decide whether exhibi- ; rcsti-aining License '

lion of a motion picture would be

delrimental to the public interest .were .seriously questioned in New .York last Friday 029) by - a N. . Y.

Gomniissioner Edward T. McCaf- frey from continuing his disap- proval of the film. At the so.ssion on Friday, which was in chambers, Judge Greenberg asked Coun.sel for

Yank Gl’s Rage Slaying Of No. Korean Prisoner Wins War Dept. Pic ok

Hollywood.

In radical departure from tradi-

supreme court, judge. While the im- JMcCaifrey whether the latter might tion, the War Department has mediate case on hand involved only ' reconsidef the ban. FoUowniig con- : okayc the ban of “The Miracic,” Justice sultation, |he Cbmmissioher said he Sunder figures he can get an ap- Henry C. Greenberg appeared con- - would not be averse to the film’s' pointment to talk it over. He has cerned with the entire issue of cen- .i showing until the case is adjudi- Oucred to let Miss Truman destroy i .sdrship, and. made it clear he was cated. Judge Greenberg agreed to negatives if they don’t meet with on the side of anti-censor groups, this and set a full hearing for to- iler approval. “Miracle” suit \va$ brought by clay rWed:). / '

atc.s you inviting her to join your roster of tele.^cription artists.” Since it w-asn’t a turndown.

Everything in the scenario w^as hurried through, just so McGoyern could rescue , the girl, have virtue triumph, by the way of a hook and a haymaker to the moustached wolfs' chin.

I saw and cheered the incom- parable Joe Gans before the foot- lights.

Interviewed the then reformed John L. Sullivan in San Francisco, doing what w’as then called a “stage perfonnance,’’ His pot- bellied stance blocked out the city’s leading citizens, sitting on the stage to do him honor, for the morality lecture he was to give later. And that was the big mo- ment, after he was hurriedly poured into a tuxedo.

In that cavernous voice he spoke on the dangers of drink and cheered for clean living and body building. From his own experi- ences, he was really saying: “A conscience cannot prevent sin-^ it only prevents you from enjoy- ing it.”

j Ed Ford’s Crack About Fiiz I

The

By-Liner!^ In This

(Regular Staffers an<l Correspoiulenls ()iiiille<l)

• • • k

Saw Bob Fitzsimmons in a melo- drama. Playing the “Honest Black- smith,” who would not think of Using his sledgehammer or throw a horseshoe around the villain’s well-tailored neck. The solar plexus blow he used at Carson City in 1897, was for all “bad

' • » « •

f • • t •

• • • ».

Trade Mark Registered FOUNDED BY SIME SII.VERMAN

Published Weekly by VARIETY. Inc

Harold Erichs, president 154. West 4Gth St,. New Vork 19. N. V Hollywood 18- .6,311 Yucca Street Washington 4

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$IJ ;25 .Cent.'-

Vol. 181

No. 4

	INDEX
Bills . . .	265
Foreign
Legit . !
Mu.«;ic . .
Gbits . . .
PictmXs
Radio-Television . ; . . . 95

t • 4 • e.

• • • « 4

248

DAILY VARIETY

(PuhiJshed in Hollywood by DiUl.v Variety Ltd. >

$15 a Year $20 Foreigo

John Abbott . .

Julian T. Abeles Harry Ackerman Joey 'Adams ...

Larry. Adler . . ,

Kclccy Allen Ellis .\rnall Art Arthur .

Barney Balaban Robert Baral .

Red Barber . .

Charles iBud) Barry Ethel Barrymore . . .

Jack Benny .

Mac BenofT Bcnj.amin N. Berger Maurice A, Bergman Rudolf Bing .

Claude Binyon A. H. Blank .

Hal Block . . . i .

Ben Bloom ....

N. J. Blum berg VicLor Borge Jay Brennan . . ; .

Edwin M, Bronner Clarence Brown Jack Bryson . .

Caroline Burke Eii.gcne Burr John Byram . .

K-'Tiy Campbell Eddie Cantor .

Carroll Carroll Bennett Corf . . . . . .

C ara’l cs Col lingvvood Re.g Connelly . . . . . S’lorrill C. .Corwin , \\^aync Coy .

Alfred E. Daff Fddie Davis . .

Ned ,.pcplnct . , .

Howard Dietz .

W. A, S. Douglas Kus.scll V. Downing Dr. Allen B. DuMont Philip Dunning .

Douglas ’Edwards Charles Eirtfeld .

. George Klvin . .

Kcii En-rlund , .

Morris L. Ernst N. V. Eswar r Eddie K. Evans S. IT. Fabifin . . ; . . . . . . ; . .

Martin Field ....... . . . .

Wiliiam H. Fineshriber, jr.

J. J. Fitzgibbons . . . . . . . .

Frank M. Fol.som . . . . . . . .

George Froedlcy . ..

1 Tarry B/ French ! . , . . . . Sir Honj-y L. French .... . Sir Benjamin J. Fuller . . . George F. Gaal Ted Gamble Hy Gardher .

John Garfield . James J, Geller Robert .Gessnei’

Bernard F. Gimbei

K. S, Giniger

• • • 4 -»

4 4 • •

« 4 4 • • • •

» • . • • ». 4 • • •

• • • • • •

221

102

249

192

42 10 50

219

106

23 39

266

24 23

221

249

250 218

7 ■ 7 102

43 92 99 95 29

222

54 23

112

108

191

191 104

■■■.7...

108

270

193

192

194 63 42

268

William Goetz' . , .	11	Val Parnell	100
Nathan D, Golden ......	193	Louella 0, Parsons ......	56
Ezra Goodman	46	H, ,jJ. Phillips .	266
Jame.s R. Grainger ; . . * . .	13	Lily Pons	272
Douglas L, Grahame ....	196	Fortune Pope. ..........	111
Ben Grauer	107	Tl)eodore Pratt .........	43
Charlotte Greenwood ....	269	Harry Puck	249
Nate Gross .............	248	Paul Raibourh . ........	29
Loo Guild . . . . . ...... . . .	58	Milton. M. Raison ...... .	14
N. L. Halpern . . . . ...... .	9	jo, Ranson . . ........	95
Gril l Haverlih . ... . ... . ,	221	Norman Reader ........	61
Helen Hayes .. .......	2 >39	James F. Reilly	266
Peter Lind Hayes ..... .	104 .	Trueman T. Rembusch . . .	65
Jo.?eph H. Hazen .... . . . .	90	Allen Rivkin	49
Wiliiam Heineman ......	13	Harold Robbins . .	12
Frieda B. Hennock	95	Hubbell Robinson, Jr.	97
Harrv Herslvfield . . . . . . .	.4	John Roe hurt .\	46
R'.'.p''ell Holman .........	49	Harry Ruby . ........	53
Ted Hud cs	2-13	Norman B. Rydge .......	216
Earl J. Hudson	63	Manie Sacks	221
Rupert Hughes .........	18	Jimmy Savo . . . . . . . . . . . .	192
Gordon Irving ........ . .	191	Dore Schafy .. .........	11
Alan Jackson	24	Nicholas M, Schenck ....	5
George Je.ssel	34	Robert A. Schiiiid . . . . , .	112
Sen. Edwin C. Johnson .	109	Budd Sctiulberg	,42
Eric John.slon .	10	Alfred W. Schwaiberg . .	13
]\iiU Josefs berg	93	Al & Sherwood Schwartz .	96
Dick Joseph	104	Sidney Sheldon .......	15
H”! KanlcT '	09	A'lax Shulman . .........	50
Ch.arlcs , O’Brien Kennedy	2 ,7	George Sidney	94
Ralph T. Kettering .....	272	Edwin Silverman , . , . . . . ,	65
John Kioron ....... . . , .	13	Phil Silvers ...........	107
IT.: Dry King	42	Spyros Skouras ... . . i	6
Robert E. Kinlncr .......	93	A. W. Smith, Jr.	13
Ai’l hur Kober . . ; . . . , . .	20	Paul Ger.Trd Smith . . . . . .	99
T:orman Ki'a.sna . . rr. ...	56	Bernard Sobel . . . ......	267
J/^wrcnco Langncr . . ... .	237;-	N. B. Spingold . . . . . , . . . .	12
Jo e Lau ri e., Jr. ........	250	Russell Splane ; . ; . . ; . . . .	195
Cert rude Lawrence . . . . .	15	Wilbur Stark;^^^	112
Cv[Vy Rose Lee ...	101	Bill stern ... . ... . . A. .	105
S m Levcn.son ......... ;	15	A.shton Stevens . . . . . . . .	3
J\ larks Levine ... ... . . . .	2 ‘9	Al Stillman . . , . . . . ; . . . .	53
Parke Levy.'	101	Robert Stolz . . ; , .... . . . .	194
Jerry D. Lewis . , . . . ; . , . .	20	Ezra Stone .	35
Joe E. .Lewis. . . ...	99	Theodore C. Strelbcrt . . .	104
. A ’ •' k Li c bm a n . . ... . . . . . .	lOQ	Ed Sullivan .	106
Alan Lipscott . ... . .	97	Gael Sullivah . :	34
.Morris Lo.swen.slein . .	63	Hannen Swaffer ; .	192
M(vi-ti.mer :W,. Loewi ; . . ..	109,	j ohn Canieron Swayze . .	107
Cuv Lombardo . . , ......	218	Hank Sylvern . . . . . .	ivo
Ben Ludlow , .	110	Richard Thorpe . . . . .3 .	14
Fo’'crt Lund .. . > . . . * . . ... ;	2''.a	Charles Tobias . .... ....	222
Ted Alack . . . . . . . . . . . .	98	Nne.<3‘ TrammeU ..; .... . .	111
David Ni .Alartin . . .	196	Sophie Tucker ; .......	248
Frc deric March . . .	101	Ernest Turrtbiill ........	196
JuMus Mattfold r. . a.	223	IVal ter Vincent . ’ . .... .	270

cd a scene in “Steel llelmet” I Li ppert ) in Which a Yank inf antry- m an in cold rage kills a North Korean prisoner-of-war in viola- lion of the Geneva Convention rulbs. '

In film, an enemy sniper has just killed a young Korean friend of the infantryman. Poem written by kid asking Buddha’s interventioh to make the infantryman like liim is picked up by North Korean prisoner and read sneeringly. GI, in grief-inspired rage, guns down I he prisoner.

I Phonevision Chooses 4 ; More Pix for Chi Test

Chicago.

•i With Zenith Radio’s Phonevision ; having preemed New Year’s Day in •Chicago, prexy Eugene F. McDon- ald, jr,, had his feature .films lined ; up for the first five days of the ; test by weekend. Under the rotat- ing schedule set up, which will liave one, film repeat at different lime periods for two days after its ! original screening, McDonald .set ; “Lost Honeymoon” (ELC-1947) for the Tuesday (2 )■ opening; “Unsu.s- pected” (WB-1947) for today (Wed ); “Silver River” .(WB^’48) for tomorrow (Thurs.), and “Dear Ruth” (Par-’47) for the .following clay.

These were to be added to the three which teed off the Plionevi.s- ion lest Jan. 1, including “April ■ Showers,” “Welcome Stranger” ; and “Homecoming.”

Wilcox Honored

i London.

Herbert Wilcox, head of In> peradio Films and one of Britain’s tbp independent producers, has beeiy made a Commander of the British Empire by King George VI.

Accolade bestowed upon Wilcox was among ; >a number of other Imnoi's customarily granted by the King at New .Year’s . to deserving I subjects. ;

Arthiir L. Mayer . . . . 61

Joseph H. McConnell . . . 1 08 Richard Mcaland , . . , . . . . 49

Justin Miller , . . ... .104

Abe Montague . . 33 iMarjoric Mooi’e . , . . .... 104

^.Tohty C. Morton . . .... . 196

Pat rice Munsel . . ..... . . 268

Kon Murray : 100

Arthur C. Nielsen .....; 105

J:ick :Oakie , . . . .... ... .50

Tom O'Brien; MP . . . . . . . 100,

Robert J. O’Donnell 65

William Orn.stein . .... . . . 208

J. L. Van Volkcnburg , Jerry Wald .

Jim Walsh ..... . . ! . .

Jack L. Warner ' S L. tPat) Weaver, Jr. R. B. Wilby . : ,

Charles Williams ... Thyra Samter Winslow Sven G. "Winquist . Mitchell VVoifson . . . . . .

Mark Woods . .

Herbert J. Yates ...

Max E. Ypung.steiri Darryl F. Zanuck Maurice Zolotow . .

103

223

101

220

195

106

?pth Suspends Biaver

Hollywood.

Haver has been suspended by 20th-Fox for refusing role in “Friendly Island,” which rolls Jan, 29 tis a Fred Kohlmar productiGni Part Dailey bowed out. of film last week when studio okayed leave of absence for further bos'* pitalizatiort. , .

L. A. to N. Y,

Howard Duff Samuel Golclwyrt .

Ruth Hussey joanette MacDonald Arch Oboler Gene Raymortd George Sanders

N. Y. to

Ben Goetz Henry Henigson Arnold Jacobs Bert Kuiick

L. A.

Wednesday, Januaty 3, 1951

Forty^fifth Anniversary

PICTIJBES

Let’s Not

Predictions About the Future, Say Iiidustry’s Toppers, But Gear Now to Work Harder Turning Out Better

Pix apd Recapturing That Lost Audience

President of Paramount Pleased to Note That Good Product Always Does Good Business

By BARNEY BALABAN

Any one who reads the newspapers these days should hesitate before venturing a categorical opinion about the pihspects for the New Year, There are too niany explosive iactors on the world scene which could easily affect our

business, one way orthe other. In view of this, it would be more constructive to forego the luxury of crystal-gazing into the future and, instead, take stock of the trend of recent events affecting us today.

The healthiest development that has occurred during the past year in our industry has been a recognition of the fact that it is now doing business un- der drastically changed conditions, and that all of us must adjust our sights to this new economic basis. We Barney Balaban have recently gone through peri^

when all our thinking was tied to the good old “lush’' days--when we interpreted any change in business only in relation to the most prosperous years in pur history. Fortunately, this dangerous inclination to look backwards has been pretty much overcome. It took Us a jittle longer than it might have to shift our perspective from the high peak of prosperity behind us to the realities ahead of us, but I believe we made the grade before the economic facts of life caught up with us. Today, we are learning to live within the potentialities of our current market and to anticipate the kind of niarket that may exist at the time when our product is released.

I was highly encouraged a Couple of weeks ago when I saw three pictures in one day. Two of them were produced by studios Other than our own. They were pictures that were well made, with strong boxoff ice appeal— and at the right price. They were the kind of pictures that could reasonably be expected to show a profit in our present . market. The third was based upon characterizations which had previously been identified with competing media. I was proud to note how favorably this motion picture compared with the other media. The picture has broad appeal and is bound to do well in this market. All three pictures fill the prescription for what ails us in our con- tracted market. If they are typical of what is to come, then there is real cause for encouragement.

Although boxoffice receipts have shrunk substantially from peak levels, it is a fact that a great deal of money is still coming in at boxoffices throughout the world, Our . problem is to adjust our productivity to this new market and gear ourselves to its realities. If every one does his job iiitelligently^and that includes studio executives, cre- ative people, exhibitors, distributors, in fact, every one in our industry— we have every reason to face the future with confidence. I am convinced that it is within our power to assure a healthy motion picture industry, strong enough to meet any challenge.

I say this notwithstanding some of the fears that have been expressed about television. Let there be no doubt ahout .it, television presents a new and potent factor in our considerations. It would be dangerous to ignore it, and we might as woll understand its great potential impact. Yeti I am confident that the motion picture industry can make money despite television, if we approach our jobs realistically. That means producing and distributing qual- ity pictures at the right cost ;.nd better merchandising of pictures by both distributors and exhibitors. Whether we find ourseles In the “red" or the “black" depends entirely upon us. '

L TV Novelty Wears Off Too

Although we have no definitive data on the question, we believe that once the novelty of a new television set has vorn off, there is a tendency for a more critical compari- son of the entertainment furnished by television with that of motion pictures. During the last half of 1950 many ex- cellent motion pictures Were released. The results from these pictures indicated clearly that good pictures will hold their own against competition from this new medium simply because they offer better entertainment.

It is true that the public has become much more selec- tive about the pictures that it patronizes. But that is mere- ly a challenge to us to make them better. On the other hand, we- can anticipate that the same selective attitude will inevitably apply to television. Ultimately, when the novelty of television has been dissipated, the puMic will exercise its .selection of entertainment among all media. When that time comes, we can rely on fiirst-rate motion pictures to stand on their own merits against^ all competi- tion. It is certainly significant that the continuously de- clining boxoffice during the past couple.of years has lev- eled off in the last half of . this year, despite the continuous increase in the number of television sets. ,

Kecognizmg the conditions now confronting us, pur studio is planning to spend ah overall amount of doilars for production in 1951 that is no less than the sum spent in each of the last two years. But we expect to produce a number of pictures more than wp did last year for sub- stantially the same money. Needless to say, we shall try to do this while improving the quality of pur productions. In other Words, whatever savings we are able to effect in the overall cost of our product, we expect to plow back into the business, into more product for our customers and more and better pictures to attract the public into motion PipLure theatres. In this way Paramount plans to meet its ^^^‘'Ponsibility to its exhibitor customers and the public. We believe we can do this because of the greater awareness ti’oin top to bottom in our studio that talent, ingenuity mid hard work make for better pictures than the mere J’>^pcnditure of dollars. I believe this attitude to be the key to the future security of our business.

1 Iicre is much cause to be encouraged by recent develop-

ments in our industry. 1951 should be a challenging year for all of us; If We are guided by practical reasoning, it may well turn out to be a good year— the beginning of a new, healthy era in our history.

More Work and Less Prophecy, Urges I J Prexy, Who Reprises the ‘Committee of One’ Credo

By N, J. BLUMBERG

I wonder if prophecy at this point is not just a little out of order,. ; .

It seems to me that we should not try to outguess Condi- tions and if we are to be realists we should not make too many predictioris about anything.

I would like, to draw the distinction between predictions and planning. .

The matter of planning for the future at least bears some relation to sys- tematic thinking based upon whatever data we can collect.

The business of making predictions is a specialization .that is frequently based upon impulses and prejudices.

Therefore, believing more in planning than in prophecy, I can only talk about those things that I have tried

to think through to the best of my vat* Riumher? ability, together with the best think- ^ Biumoerg

ing of my associates.

We in the motion picture business must above all think about making motion pictures. There is no point to think too much about the competitive entertainment media be- cause unless we have entertaining pictures we will suffer accordingly. I do. not mean to say that we shouldn't be aware 'of all bur competition, including television, sports and. all those other enterprises which . tend to deflect people from the theatres.

But WG should keep uppermost in our minds the simple fact that good entertainment on the screens is always a Competitor to the things we consider a competitor. The question then is what can be done to provide the best in entertainment.

Certainly it has no relation to how much a picture costs. The most important factor is what the picture is about; Whether it has those elements vvhich will excite the public and whether it is susceptible to promotion, advertising and publicity.

I presume this comes down to the idea of boxoffice slants and angles: The trouble is that too many people in our business write the picture off before it has even played In the theatre.

It is my contention that every picture is a boxoffice picture until it is proved otherwise and therefore every exhibitor has the obligation to support any picture until the public indicates its opinion.

I don’t think the public is apathetic about films. I think most of the apathy, exists in our own business.

To correct this apathy one must cheer GOMPO in its efforts to create a new point of view in our business so that aU of us will work together to improve boxoffice and public relations.

COMPO is certainly on the right track and deserves the support of everyone in this business. All 6f the things we have been talking about for a number of years have been crystallized' in the COMPO program. The time has come when we must realize that the way to attack Industry problems is by Industry thinking.

Practically everything that our Industry is bemoaning has come before COMPO. This includes the necessity for developing new personalities, the effort to launch Industry advertising, and the effort to conduct systematic surveys so we will know what is going on rather than guess what will happen.

It was nearly two years ago that I enunciated an idea to the effect that everyone who makes a living in this business should become a Committee, of ^ One to get on the public relations bandwagon. '

Let’s keep our opinions channelled through COMPO and let’s stop parading our worries before the public. This is a good resolution to adopt for 1951.

RKO Prez Iteniizes Some of the Plus Factors ^hich Can Help Recapture the Lost Pix Audience

The recapture of the motion picture audience is ob- viously the first objective of the entire industry. This is a job requiring the full efforts of every segment of our

business. / . . ^ ^ «

It is . certainly true that in spite of

j- ^ ' iiiiT-ni- -iijn • very good business for a number of

the top attractions this past year, the general average of attendance has been far below what the industry ^ 1 should expect in consideration of the

‘ i exceptionally high quality of product

’ I ^ offered. This buying lethargy or

I 'If ; apathy on the part of the public is not

\ i too mysterious. We took a terrible

llP I beating for a cotiple- of years. It

jr seemed that all forces of public opin-

itetec ! ion were arrayed against us. The

press, in a wild orgy of condemnation, Ned Depmet world that OUr pictures were

bad. The critics had a love feast with the foreign sirens, unfortunately, as an industry, we were not organized to combat the attacks so the public read and believed, listened to the radio, and took the word of the ether pundits as gospel. So, today we are fighting a defensive war, trying to regain the ground lost. It’s a slow and tedious journey but not a hopeless one. . ^ ^ • i. .

Good work has been done by industry organizations, both on the national and local levels, to create a better

i 1

Ned Depinet

understanding of our indiistry and lienee iiiore tolerance bn the part of editors, opinion makers, legislators and influential groups throughoiTt the country. But tolerance.

Or even generosity, bn the part Of the public and its opinion makers cannot ever be regarded as a permanent state. Good will, friendship and tolerance are delicate plants that require constant cultivation and nurturing. Respect must be earned— -it cannot be bought or bribed. We must be ever alert to correct our own faults and militant in defense of our virtues.

But “public relations” is more than national or interria- tional issues. Rublic relations is also the gentlemanly " usher who courteously offers his arm and escorts an elderly lady to her seat; who politely: helps a patron with his top- coat and thus makes a friend for the theatre. Public relations ;is also the cashier who takes a patron’s money with a smile and starts the chain of enjoyment at the boxoffice window- Public relations is. also the well- groomed house staff and the spic and span theatre. . Public relations is also the theatre manager who knows the editor, the mayor, the priest, minister and rabbi, the Chamber of Commerce secretary, the heads of the PTA, woman’s club and the school principal.

Being a business of excitenaent, flamboyance and makeV believe, which is our natural stock in trade, we are prone to forget that the crowd is made lip of single units, human beings each with a distinct ego and a temperament as^ sensitive and volatile as that of any Hollywood star. This’^ ‘ is our public, our composite customer, who makes us or breaks us, who must be interpreted and catered to.

TV Can Be An Ally ] :

It would be foolish to deny the existence of new and formidable competition, not only in the television areas, but also in other amusements, including the automobile. Every man in this business knows what he is up. against.

He can take it lying down or stand up and fight for his rightful share of the amusement dollar. Television is here — it can be an enemy or an ally: I think we should use it.

TV has its ov/n distinct kind of entertainment to sell but we have ours. • We are in competition for the public’s leisure time, but we are not selling M;he same merchandise. There will be great, good, poor and indifferent television shows and They will attract audiences according to their respective merits. Television is show business too.

I feel confident that the whole industry will, during 1951, continue to release the extremely high percentage of top product that marked the past year. Certainly 1950 ranks very high as a year of exceptionally fine pictures- How long the industry can continue to produce so lavishly will of necessity depend upon public response and exhibitor efforts in making them profitable investments.

The producing end of oUr business has gone through the economy wringer. Costs were cut but grosses fell to offset the savings. The public’s taste improves each day. Yes- terday’s masterpiece becomes tomorrow’s mediocrity. Picy tures can never retreat and hold their audience. Inge- nuity in achieving production effects rather than drastic slicing of costs seems preferable.

Our business must ever remain youthful not only in our thinking and actions, but also in the merchandise we sell.

New personalities friust be developed year in and year out. These new people must find a place on the nation’s screens.

We are not a dead or dying industry. We don’t need digitalis to keep our heart beating. Instead we can work up a sweat and unlimber our muscles and overcome most of our aches and pains. I refuse to be a pallbearer at my own funeral. '

■ ■ ■ ■ ■

Loew’s Prexy Realislicaily Feels the Nat’l Economy Most Directly Affects Filmj^oin^ Habits

By NICHOLAS M. SCHENCK

At the end of each year, executives of motion picture companies are asked a great many questions by the trade which these executives cannot definitely answer. I have never believed in haphazard opinions or uriwarranted

predictions, but as a matter of friendly compliance and because there may be something to be gained in talking things over, I shall go into a discussion of the points brought up.

I am asked to give a perspective on the year ahead. This is impos- ; slble and can , be as wrong as the , weather bureau, Which turned but to be Completely ignorant of the big . breeze that started to blow on Nov, 25 last, and turned into a hurricane wjth- L out any warning.

Nicholas M. schenck Obviously a great deal depends

Upon worlo: conditions. These con- ditions at the moment are none too good, and the dis- ruption of our economy is threatened by mahy forces. Peaceful conditions throughout the world will .naturally allow' the individual to: his normal activities and

then: all businesses that are essential to our happiness ^ have an, excellent chance for prosperity The motion pic- ‘ ture has proved itself to. be an essential to our way of life, and its prosperity dep 'fid.s on the degree to which v We are allowed to pursue our way of life. No one can possibly say more than this without running the risk, of . being cohsidered an idle talker, .

As for the production of pictures, our com,jany has done rather well in the past year, which was not con- sidered a good year by the industry in general. We have turned out a great many successful attractions, and we have reduced our production expenditures as much as was ■possible.

My views on television have not changed radically. 1 still believe that a great many people will always seek their amusement by “going out.’! But I do not ignore the

(Continued on Next Page)

;C<>ntiiiued from preceding pagei

fact that many dollars have been invested in television

machines, and in fact in all sorts of machines which have been purchased on the installment plan. Installment buy- ing has cut into the family budget, and it is hot only affecting theatre-owners but storekeepers of all types. The entire retail trade for small articles has felt the pinch that the head of any family feels who owes money for his car, his refrigerator, his washing machine and his tele- vision, set. /hen you go to your grocer or chemist, ask them some seemingly idle questions about business, and you’ll understand how, the pursuit of pleasure can also be aileeted by the lack of cash in pocket.

Also, the purchase , of new houses is not to be ignored. iVlany people today are buying their homes rather than renting them and there has been an outlay of available money as well as the mortgage payments and taxes. This has nothing to do with the public appreciation of pictures -—that appreciation is there, but the inclination to go to see them is measured more carefully in the light of spend- ing money. The smaller pictures have, therefore, suf- fered, and in a busiriess that cannot make them all big, there is bound to be some boxolTice distress.

Forty-fifth p^^^IETY Annivertary

If the thousands of theatre managers throughout the coum try are alert enough and deterniined enough, they can supply all necessary information to the distributors regard* ing the public’s taste and requirements. It would be both a waste of money and bad publicity to embarh on a large research program. We have extraordinary machinery of our own for analyzing the public's mind and we should use it. To create a ballyhoo about the public's alleged “apathy” would be irreparably injurious.

Must Launch New Personalities

Improvecl Public Relations

The public relations of the industry during the past year have improved. Eric Johnston has done an excellent job in presenting dUr case to the critical gentry and this i.s a cause for some satisfaction. The public is beginning -cfp realize that the focus of attention on star personalities automatically magnifies what they do. Motion picture people are just like other people— only more famous and Ihereforc more news. The industry itself has conducted its transactions in a highly ethical way and with con- tinual consideration , for the public welfare.

We are constantly doing research and investigation as to the public taste and reaction and' the reasons for conditions. The people who say that motion picture, fare in general is poor are usually those people who do not regularly go to the movies. The fans know they have improved with each year, and they are not apathetic ex- cept in so far as the above-mentioned drain on the purse atleets their freedom to spend money on entertainment.

To close this rambling .series of comments, X should ^ike to say that optimism is easy to express and not always easy to retain; but I am convipced, as I have always been, that the best way . to spend the time — when you are not creating something yourself— is to see a good shovy. The movies are excellent entertainment, and as long as they continue that way they will always have a. place in the public heart. They will always be a substantial and an essential business, and the thing the producers have to do is to improve their product continuously. The public doesn’t care where it gets its good shows, pfoyided the shows are good, and the motion picture industry has proven that the large screen provides the greatest and most satisfactory diversion.

Better Pix Certain to Gel Beller Biz in ’51 ; Skouras Sees Harnessing TV for Benefil of B.O.

By SPYROS SKOURAS

Business in 1951 will be better because the output from Hollywood this'year will be vastly improved in quality as well as in number of pictures. ;

Our industry is better prepared today than ever before

to meet the rising demands of the pub^ lie for fine entertainment. Through experience wco know that the public will turn out whenever films have quality despite any other competition. Outstanding pictures always did and always will, do boxoffice regardless of any existing conditions.

Production costs have been reduced, but they have not yet been reduced sufficiently in view of present box- office levels. We are gradually achiev- ing lower levels in production costs, but in doing so we are striving to im- prove our techniques and benefit by our experience so that even better quality will be at- tained. Twentieth Century-Fox does not intend to allow lower costs to imperil the quality of motion picture enter- tainment, and I know this is applicable to the other com- panies.

As regards T’s reiationship to cthe industry, it is my opinion that in time the two industries will be brought into closer relationship because both provide audio-visual em tertainment for the public. But this closer kinship of the two, media will conie through the development of large screen television in the theatres. It is possible for the theatres to reach their greatest prosperity through the infinitely enlarged scope that can be given to entertain- ment through large screen exhibition.

Spyros Skouras

Picture Is Still the Thing

Let me say, however, that nothing in my strong opinion, transcends the importance of launching as many new film persohalit|es as possible on our screens in the year 1951. advise exhibitors of this need,

The exhibitors can encourage producers to engage and cast siich fresh personalities whenever possible, even when some risk is involved. The new personalities will help to perpetuate the importance of the old ones and the old ones will help to popularize the new ones. I consider this one of the vital contributions toward retaining our audience and increasihg our attendance by millions.

Now, let me express in coheiusion my unshakable con- viction that our industry has within itself the resources and Vitality which can keep it great, We are an unbeatable combination when exhibitors, distributors and producers stand together. An example I haye in mind is the suc- cessful cooperative enterprise of the Randforce, RKO, Skouixis, Century, Joeison and Fabian Theatres in New York City in jointly advertising and promoting the second run of the picture “All About Eve,” which not , only brought lines at the boxoffice arid extended the runs, but gave a cue of tremeridous practical interest to exhibitors elsewhere.

Another example, is that whenever exhibitors and dis- tributors have? taken their disputes to arbitration, it has been shown that sensible men getting together, can avoid the fearful waste involved in the litigation \vhich has plagued our business. At this time, the producers, dis- tributors and exhibitors can become better working part- ners for the benefit of all by sharing the task Of keeping up with public taste and public requirements as to the quality and character of; motion pictures,

Herb Yates

The basic ingredients will be films, which are . the Eupreme entertainment of the world today, and films will be augmented by stage shows exclusive for theatres through television. With large screen television there is unlimited opportunity to satisfy best the constantly devel- oping appetite of the public for amusement of higher quality and greater range, and also to serve best the public’s educational and cultural needs.

We are carrying forward the plan to try out this form of lelevi.si6n on a large scale in 5.0 or more west coast theatres as soon as ti e large screen is perfected. Since September w.e have cbnducted a number of tests in New York and we are optimistic for the success of this project.

Millions of people continue to patronize, good motion pictures, but these millions and Others yet to be , won into the theatres have developed higher standards in recent years. They demarid unusual subjects and superior quality as never before. Pictures meeting these standards do as

well at the boxoffice Today as at any other time, when you take into consideration, that the public’s income is spent for modern conveniences of all kinds— washing machines, deep freezes, television, automobiles arid homes. These are the factors besides television which have affected our boxoffice.

I do not believe that research projects are necessary, Ih order to determine the public’s attitude toward films.

Repiihlic Prez Decries ‘Sniart-Aleeky’ Criticiem And Its Eflfect on Those Within the Trade

By HERBERT J. YATES

Despite the air of gloom which seems to have invaded the industry? I look forward to brighter prp.spects for next year. I think that the public will be more eager than ever to find the escapist entertainment which movies

can best provide, and that this may well mean a healthy acceleration of the filmgoing habit. There has been much discussion about the so-called depressed boxoffice and many reasons have been cited. Actually, the indus- try has been conditioned by an accep- tance of grosses in a lush era as its revenue standard. It is probable, however, that credit reductions, short- ages and price controls will make more of the consumer’s dollar avail- able for entertainment, particularly in a period in which there will be in- creased employment due to our giant defense program. Increased audience interest in films must be predicated, however, on the delivery of good vsound entertainment product, the kind that will continue to underline the fact that ‘‘movies are the world’s best entertainment buy.”

1 think fhe industry has proved that production econo- mies can be effected without sacrifice of story or enter- tainment values. The past season has .seen the production of some really fine, entertaining pictures on greatly re- duced production budgets; Hollywood can no longer profitably market epics in the several million dollar cate- gory. There just isn’t that much potential return, on this type of inve$tment. In general, I would say that the re- duction in costs has been handled efficiently without detriment to the quality of product.

Television is an entertainment business; and, as such, it mh.st be" included in the niany other entertainment businesses which have consistently been competitive to motion pictures. With the urgent need which television has for star personalities, it’s true that more Hollywood names are being approached and are going: into TV. How- ever, it has definitely been established that too frequent appearances and lack of good material can kill off stars faster than any other entertainment medium. Some as yet unresolved format must be arrived at if motion picture stars are to go into TV and retain the popularity which motion pictures have built for them. Just as radio com iributed new faces for the screen, the stage and other en- tertainment fields, so will TV develop talent of its Own \yhich, with public acceptance, can provide neW bldod for our industry.

Industry public relations programs have made great strides, mainly because of an understanding in all branches of the industry that they share problems in. common and because of the concerted action which is being taken to solve them. Organizations charged \yith industry public relations have, done a creditable job in reducing criticisms and. complaints to a riiinimunii W can certainly attribute this to effort, rather than chance; and, 1 feel, that all companies should continue to support common action.

More Competition Generally

Wednesdsy, January 3, 1951

fected a few of our screen personalities, who have joined

with members of the press in belittling motion pictures.

The answer to this problem is not a pat one, but it should definitely be given serious consideration. One pos- sible approach is the more widespread use of Hollywood stars as ambassadors of good will. There are many in- stances in the industry in which stars have attended world premieres and/or toured the country to the plaudits of the public, with the press reporting the tremendous impact which these stars have made upon fans. Republic has experienced outstanding results from such perspnal appearances! I firmly believe that this is an excellent method of arousing public interest in Hollywood and its stars.-

Various Industry promotion outlines are presenting other ideas, and we should employ every showmanship means at our disposaL to interest audiences in pictures, bearing in niind the tremendous untapped audience which has never been weaned to films. Promotion calculated to reach this potential audience is of paramount importance.

Movies, plays, sports, radio, television and any other per- formances that bid fbr public approval are pretty much in the same category. I don’t think that the public io more apathetic toward movies than toward other entertainment. Maybe it’s been a case of not having enough money to go around. Cost of living indices may well be a contiijiiuting factor. Perhaps, too, cycles of pictures are hot too healthy for the industry; and we might well look to a widespread program not only among a;udieiices hut among exhibitors as well, to assist us in building new stars for added boxoffice impetus.

Another problem is the generally “smart alecky” re- viewing and editorial treatment which movies have, been receiving from the px*ess, radio and television. I think that this has done much to discourage movie-going and to undermine the public^s evaluation of pictures. , Actually, this is a problem which should be high on the agenda of public relations programs as well as the job of every in- dividual associated With e*.ery branch of the industry.

This menace* and I call it such advisedly, has even in-

By HAL BLOCK

ANNCR: Good riiorning, ladies and gentlemen ... di- rectly fronv Washington, Ave bring you the latest Mr. and Mrs: program. You've heard Of Ed & Pegeeh, Dorothy & Dick, Tex & Jinx ... Today we^ bring you “Harry & Bess.” But first, a word from our sponsor, the Jim Dandy Dissolv- Irig Stationery Corp, If you ever have a desire to write nasty letters, don’t fight it. Just wilte the letter on Jim Dandy Dissolving Stationery. By the time the letter reaches its destination, there* will be nothing left but -the stamp. And now for Harry & Bess at breakfast.

BESS; You don’t look rested, Harry. What’s the mattei? HARRY: Oh, nothin’, Bess. I guess I just got up this morhih’ on the wrong side of Congress.

BESS: Why don’t you take a walk? It might improve your disposition.

. HARRY; It didn’t improve Vishinsky’s.

BESS: Don’t you sometimes wish we could give up all this and just go back to. living in our little house in Mis- so.iiri likewe used to?

HARRY: No-o-o! And let’s hear no more of that. Do you have a paper?

BESS; Here’s the Congressional Record . . . The Wash- ington Herald, and The New Y'ork Times.

HARRY: No. I mean., do you have a Variety?

BESS: Variety?

HARRY ; Yes. I want to see where Miirgaret is . , .. this, week. • ^

BESS : Incidentally, Harry ... what do you hear from ■Stalin?.,' ' ^ .

HARRY: Please, Bess . . . not while I’m eating.

BESS: Oh. did you see the item about Tom Dewey becoming national head of the Piano Tuners Association? HARRY; Piano Tuners Association?

BESS: Yes. he figures that’s the only way he can ever get into the White House.

ANNCR: And now a word from our sponsor. The I\lnr- shall Plan. Foreign countries . . . do yOu need money? Come to us. If you are a large country . . If you are a

small country , . . If you. are a country . . . Don’t be bash- ful. We loan anything from 100 million to two billion dollars on your signature alone . . . or if you can't write see us anyway. Here’s a letter from one of oUr satisfied customers. He says: “My name is Ernest Bevin and my country has been using the Mar.shall Plan for nigh onto 200 years. The .service is wonderful and the payments are so easy that you hardly notice them. As a matter of fact, we haven’t noticed any payments for the last 10 years” . . . and now back to Harry & Bess.

. BESS: Have you seen all the new books we received this morning?

HARRY: Yes. Tlicre’s “My 30 Years with Franklin Roosevelt” by Eleanor:“jMy 20 Years with Franklin Roose- velt” by Grace Tully . . . “My Two Years with Elliott Roosevelt” by Faye Emerson . . . “I Never Met Roosevelt” by Hopalong Cassidy.

BESS; Here’s an interesting one . . . ‘‘I Was a Blotter on Roosevelt’s Desk.”^, .

HARRY: A blotter on Roosevelt’s desk?

BESS: Yes . . . 1 understand it’s a very absorbing hook. HARRY: Bess . . . you’ve been listening to Milton Berle again.

ANNCR: And now a word from our sponsor . . . When you get up ill; the morning, do you feel. blue? . . . Do you see black spots in front of your eyes? . . . Use Senator McCarthy’s Little Liver Pills and you’ll be seeing RED /. . and now bach to Harry & Bess.

HARRY: Well, it looks like our time is almost up for today, Bess, but before \ve go, would you call up the Chairman of the Jackson Day Dinner Committee? 1 want to be sure that he doesn’t niake the same mistake they made last year.

. BESS: Why, Harry, weren’t you satisfied with that $100 plate dinner? After all, they had the best food, the best drinks, and the best entertainment.

HARRY; Yes, but they only had the SECOND best waiters*

BESS : Well , who are the BEST WAITERS?

HARRY: The REPUBLICANS. After all, they’ve been WAITING for 19 years! I

In Braille

Sometime ; in ’40 during the Series of Arturo Tos- canini concerts with the NBC Symphony, the guest soloist was a noted Polish pianist making an infre- quent ^ppearariGe here in the States named Mieczsl. aw Horoszowski. ; To. be sure on the pronunciation of his namie, 1 went into Maestro Toscanini’s dressing room, , where he Was chatting with his guest before the ; concert, and asked him how his name was pronounced: The pianist assured me that his first liame was pro- nounced Mee-yech-eh-SWAFF— that’s right, last syllable SWAFF! So in my “speech to the studio audi- ence and three or four times on the coast to coast broadcast, 1 referred to him as Miecze-SWAFF.

After the show, one of the musicians— himself a Pple^ — asked me why I mispronounced the guest’s name, why I didn’t say Miecze-SLAFF.

“No, no,” I said, “I know I’m right— I asked Mr. Horoszowski himself. It’s Miecze-SWAFF.”

go by him,” said the musician, “He Bsps. ’ > Ben Graucr.

Wednesday, Janua^ 3, 1951

Forty^fifth t^^IETY Anniversary

PI6TURKS

It Isn't the Old Joke That's Netessarily

Best

By CLARENCE BROWN

Hpljywood.

Old jokes, like old friends, old books, and old whiskey, are sup- posed to be the best.

As an ample of this is n e c e s s ily true, isider the of a hypotheti- e a 1 exhibitor

hpw not a r - con- case

wouldn’t get laughs today. They lived a cycle and died.

These gags were based on a num- ber of premises about Small Boys, exr I They Included the idea that all kids love to play hookey from school and go fishing. It was an old gag when Mark Twain got in on it and it lasted for another half a century or better, but that “basic” no longer exists. Thf idea of kids playing hookey from school who was , play- S doesn’t strike people today as being ing a bum pic- : funny, and besides, even if they full of ..did stay out of school, everyone very old . would assume that they’d spend Business 'their time seeing a Hopalong Cas- so bad sidy movie instead of fishing, when he . Another “basic” was the idea two very,, that all young boys, sooner Or later tried smoking a cigar out back of the barn and that it makes them deathly ill. Another idea Was that small boys, always eat too many green apples and become ill. An- .L 1- other was that small boys always

t riend. 1 uriied out she was now uip the pigtails of the girl who

ture

very

C’laieiice brown

was

that

into

happened to fun vei‘\ old friends from his old out- m in the Marines they all pro- cceded to get full of very, very old whiskey. And he wound up getting his nose punched when he decided to Call On - an bid girl

By JACK BRYSON

(Director of the Legislative De- partment, Motion Pictur': Assn, of America f

Washington.

Ten state legislatures met in regular session and 13 in special sessibn during 1950. In no instance was any law passed which might be injurious to riiotjon pictures al- though .several bills were intro- ducedi

Here, in sumrnary, is what hap- pened to’ legislation, affecting the industry:

Censorship bills were offered in Georgia, Kentucky, Mississippi and Massachusetts, all of which were defeated.

Holly Vvood. Before legends encrust the saga

viewing, the noted screen writer, Rutherford Muinm, “Martin,” Ed-

of Eager Eddie entirely, I think j die crowed jubilantly, “rve just it would be well for me to relate 1 come from a long session With this sober and truthful chronicle Rutherford Munim. I think Tve

of a . Young captured the secret of really fine Writer’s Rise writing. I believe in following in

in Hollywood.

I met Eddie soon after he

the footsteps of these Creative people. You knOw, Mumm believes in letting his spirit soak all day. arrived on the [ That’s exactly his phrase, soak all G 0 a s t from I day. Perfect relaxation. / Then^ — Texas: a tall, ! the man’s a genius, 1 ’:eli you— thin outiander I at six o’clock; six O’clock, mind with a shock 1 you, when other people are first of straw r yel- ; coming home from work, all fagged low h a i r , j out, he sits dOwm at his desk to W'ashed b l u e write, fresh as a daisy!” eyes and thick j Eddie’s vOice lowered impor-

black - rimmed [antly.

writer, Eddie quickly learned that ! Martin, notice what time it is.

Martin Field

married — he had gotten her name and address out of a yery, very old book; a little black one he used to keep hot numbers in.

Notwithstanding the evidence that .some jokes written, by Joe Miller are still making the rounds, nevertheless gag types do have life cycles and a high mortality rate.

AVe’ve all heard the lobby ana

sits in front of them in inkwells, and that bo5'^s always carfy snakes and frog.s in their pockets, and so 'on.-

; Grie of the great, rock-bottom j joke assumptions of our time has , been the basis of an Utterly amaz- I ing fountain of gags. One popular ! cartoonist has been making a com- fortable living for years . simply

lysis, theatrical equivalent of foot- ! drawing different Versions of this ball’s Monday Morning Quarter- ■ joke: the idea that all perfumes backs, stand around after the show 1 have erotic and sinful sounding breaking down the . cOmedj'^ and 'names, and that perfumes are cacei'ully cataloguing each laugh as made; sold, and used exclusively a refurbished version of an ancient as aphrodisiacs, j^ke. j One well-known national w^eekly

The fact is that, apart from the magazine has not gone to press basic skeleton of how the gag is j in 14 years now without a cartoon pre.scnted, certain things are funny illustrating this perfume creed, to filmgoers and to the public j yet the day will surely come generally only during certain pe- ; when the idea that perfume acts

I on all men as a sex stimulant , and 1 don’t mean anything a.s obvious a drug will have become dated as the purely topical gag. Naturally, ' and corny. All of a sudden, after subjects like Flying Saucers, as the * producing thousands of jokes, it raw stuff of jokes, are going to be | will suddenly be Unfunny, highly seasonal. | In the long-range vie w% picture-

There comes a time w’hen the makers face their riiost delicate public is currently aw'are Of the when they dream up and de-

FlNMug Saucers, for instance, and wliat sort of jokes will strike

UVen for a period. Flying Saucers Pt^ople as funny nOvv— or at least gags are topical. I by the time they get on the screen.

But deeper than such superficiali- 1 . _ - ~

tics of gag timeliness lies a more ! Ready Oscar Ballots cycle process w hich sees joke , HollyW’ood.

In Kentueky, a bill was offered to ' movie studios can’t be just w'alked “repeal the excise tax on the sale ' i^to. A less resourceful soul w ould

£ A • . . , £ . _ [have fled back to Texas,

of admission to places of amuse- „ , ,

ment or entertainment, including go,£,e„ thatch .briefly and thought. ! admission to motion picture thea- j fuUy, then sat dowm and wrote a tres,” but this bill was killed in the committee.

The Louisiana legislature de- feated a bill to repeal that state’s censorship statute A bill w'as introduced in New YOrk State “to permit ow'riers and

Six o’clock! And where am I? I'm at my desk this very minute, just like Rutherford IViumin!”

“Having any thoughts?” I asked. “NO, but something’s bound to come of it!” Eddie cried. “I’m at

letter. It was to the editor of his j and, I m using a pen, too

hometown newspaper, offering ®

Eddie’s Correspondence services in exchange for a letter to the John- ston Office stating thaf Eddie w as a bona fide. HpF.ywoOd corre- spondent.

Eddie got his. Johnston Oiiice ^ . card, entitling him to attend rho-

opei-ators of moving picture tnea- ; tion picture previews and to visit admit children under age .^ny ^^nd all studio lots. Promptly

Eddie began to interview writers. In Hollywood, this w'as a most sen-

of 16 unaccompanied by adult per- son at any time when school classes are not in session but not after 6 o’clock in the afternoon,, if sep- arate section of main floor is set ! aside exclusively for children and at least one matron is in attend- ance.’’ This bill w'as killed without

ever reaching the floor tor debate.

On the plus side, New York state voted a law which “ suspends until July 1, 1951, poW'er of coun- ties and cities to adopt local laws hereafter imposing tax on business, professions, and commercial activi

Rutherford Mumm,” 1 said.

A few months later^ I ran into Eddie at . a preview. . His light blue eyes W'ere rimmed with fed and he looked so exhausted he could hardly lift up the credit sheet that dangled from his limp hand.

“Don’t you feel w^ell, Eddie?” I asked.

Eddie’s bleary eyes slowly closed, then, painfully, he forced them open. “I feel fine,” he mur- mured manfully, “just fine.”

“You look all in,” I said.

Genius Doesn’t Repeat

“I don’t know how' Rutherford Mumm is so successful,” Eddie

types come and go.

Nominalion ballots for the 23rd

What 1 mean to say is that there ■ annual Oscar Derby will be mailed are certain substructures On which ' Jan. 18, with the polls closing Jan,

jokes arc based. This base is Usual- 1\ the assumption of a certain qualily by a certain thing or a person. Sometimes this rock- bodom postulate bn w^hich jokes are built can last virtually through- oiil eternity, which sounds like a rebuttal of my contention that most jokes have cycles.

For instance, there have been a million or more jokes about mothers-in-law. .

_ The Caveman Joke

^Ve can assume that the first dawning glimmer of a sense of iuimor on the part of the Caveman came when his wife rushed into the cavern and yelled to him: “Come quick— -a saber-toothed tiger just carried mother off!” And her lord aiKl master replied: “Hell with tlu' saber-tpolhed tiger — let him lake care of himself!’’

Since that time the writing and tell i ng of mothers-in-law' jokes have . belped bring in a livelihood for ' thousands . of descendants pf the Cavcinan. The point is that all mol liors-in-.law’ jokes, without ex- cept ion, are based on one iron- bound preinise: the postulate that all molhcrs-in-law are nasty people, that no fate that can befall them is any worse than they deserve, and that their sons-in-law all detest them violently;

So. in lesser degrees of dura- hiliiy. almost all jokes are based on basic premisCvSi riiany of which tunny oiily for a limited peilod.

For in dance, almost a whole gen- eration of Americans laughed at eoundess versions of jokes all ba,sed e5;sentially on the pi'eniise that tramps love to steal hot pies ulueli had been put on window U‘dges to cool by housewives. A blood-brpthcf of this pferiiise was titat .small boys also love to steal pies put on window ledges.

, No nurtter what form it takes, a Joke which reaches down to this basic assumption simply isn’t fnnpy today.

Th.e same period saw a number ' Sinai I Boy basic premises wliich

27. Nominees will be announced Feb. 13. and final ballots will be mailed Feb. 27.

All final Votes must be returned on or before March 13. Presenta- tion will be staged March 22 at the P.antages theatre.

sational move. Correspondents interview actors and actresses.

They even interview a director or producer. But wTitCrs are not i used to being interviewed.

Now Eddie came along and de- clared that his readers were in- pfi nnlv- in wrifpp'? His

method of interviewing was nia- j complained. “I sat down at iny

chine-gun style: How- do you ' desk every night at six for six

write? Sitting down?. Standing . weeks straight. Nothing happened, up? Pen? Pencil? Typewriter? j ^ didn t get even one great idea [Morning, noon or night? What’s a screen original.” He clutched ties and powder of cities of less [your favorite kind of story? What . coat lapels and hung on.

than 25,000 to impose special taxes kind .of story is selling to the stu- i “P®. think he w'as kidding me? on admissions and entertainment.” ! dios right now? What’s the gim- Giving me a wrong steer? You

The states wliich held regular * mick, weinie or twist in your cur- know, maybe he wa.s jealous,

- * afraid of a young feliow getting

story eligible for production? j ahead? A twisted . genius, sore at

If I didn’t see Eddie for a while, | Ihc world! You think so?”

New Jersey. New' York, Rhode ; he was quick to phone me. “Mar- ! I felt an intuitive flash. “Who'd Island, South Carolina and Vir-[ tin, I just interviewed Cornelia yOu interview last?” ginia. | Hobble, the new sensational screen ; “Adam Skowstop. He just wrote

Special sessions, were conducted , ^ci^r, I found out that her il-;a ^j^ole screehplayinalong vveek-

in Connecticut, Georgia, Maryland, ; legitimate aunt, oh her mother S | paim Spring."*. He’s like

Idaho, Maine, Arizona, Texas, New j side, is married to the new' head ; Napoleon or Thomas Edison; Never Hanipshire, Wyoming, Michigan, ! of .Glamour Pictures. And real | gigeps more than four hours a Washington, Illinois and Colorado. I 'vriters like us have to struggle | when your body’s all tired

Only bill affecting pictures in any for years and years and get along ; out, that’s w^en your mind soars.

jssions was the i oo merit!. How do you like that?” , Don’t yoi

legislative sessions during 1950 I rent assignnient that makes it a were: California, Kentucky, Louis- iana, Massachusetts, Mississippi,

of these special sessions unsuccessful censorship measure introduced in Georgia.

BILLY ECKSTINE

you think he has something And then there was the day that there? It sounds logical, doesn’t Eddie called nie right after inter- jit? Boy, do I feel tired!”

I ■ ■■■■ ■■■ I ■■■■!■ Ill j Eddie’s shaggy head dropped

. down to his chest. I escorted him j out of the theatre lobby and into I a cab outside.

i The next day Eddie phoned me. j His voice was puzzled. “1 just sold ; a story,” he said.

! “That’s great, Eddie, wonderful. ■Congratulations.”

I Eddie went on; flatly, “I came i home, went right to bed, and this morning niy agent awoke me up to tell line I made a sale.”

“What’s the matter? You don’t sound happy.” ,

“I’m not. I’m so bewildered I don’t think even my p ’ychoanalyst can help me. Haven’t I done my best to find out the best writing methods, just w’hat type stories are in the biggest demand, and everything else? I’ve interview'cd every big writer In Hollywood. There isn’t a thing about writing for the industry (that I haven’t learned since 1 left Texas.”

“Which, of course, accounts for your success at last”

“No!” Eddie vsereamed, and I could feel him vibrating over the phone. “I wrote this story before I: left Texas!”

I just got a caU from Eddie. The same fresh voice as of ybre, the same vibrant eagerness,

“Pal,” he said, arid liis tone was portentous indeed, !‘l have come to a decision, a turning point, a milestone. And you’re the first one to hear it”

“I’m honored,”

“You remember what I said to you the other day about waiters being nobodies and- producers everything?”

“That I do.”

“Well, . tomorrow morning I’m starting a new series of inter- views—this time with producers!”

PICTURES

Forty-fifth

Anniversary

Wednesday, January 3, 1951'

THE CADILLAC THIEF

Steppin’ Out for A

A Cinema Travesty Based on An Idea By Jerry Wald

By Iia:N ENGLUND

Hollywood. DAWN

' mh/i mnini-inl mTonfiiinnA mnn.tinn . nf fho Unll'ii. Rnrrow vour acent’s Buick. Ja.ck Warner dlives to . Wolk

Bit of Fresh Medium

By JOHN GARnELD

Ken Ehgiund

viQod screenwriter, NiGEL FLATBUSH, his wife, DAWN, and their 13-year-old son, liORY.

SCENERY— A painted wire frame to symbolically simidate

a breakfast nook a la William Haines. PROPS— A 71 antique table, 800 years old, is set for breakfast. Around it three Welsh. chair $, 4^00 years old. On . the table are two silver coffee pots, labeled the. other HER’S. At

each i)lace a silver newsaper holder contains a copy of Daily Variety. There is a phone at each place. Both Dawn and Rory are on their phones. The latter is nattily attired in the uni' form of the Stouifellow Military in- stitute. Dawn, inasmuch as. she is NigeVs third wife, is very young and very pretty. '

RORY— (gulping coffee, snarling into phone alt same time) Listen, Mickey, it can only be 10*10 and 10 actoss the board because I don’t get my allowance for another Week!

DAWN— '(into phone— conspirdtorily)

Tin meeting Lillian at Magnin’s and we’re going 'together to Bullock’s— then why don’t we all meet at Saks at two?

(looks off, anxiously)

I can’t talk now — ^here he cpriies!

(Both hang up and pick up their trade papers as Nigel enters. Over his sport coat of many colors he wears, a cdshmere polo coat plus yellow beret and blue suede shoes. ) . V ^ r

NIGEL— (kissing Rory)

Good morning, son —

RORY— (studying him) Quelle hangover.

Good morning, Nigel

NIGEL—.

It’s those sleeping pills— must change hiy brand.

DAWN — (kissing him)

Good morning, darling. Time to eat anything?

NIGELr^^ sitting nefvously— excited) .

Just coffee, honey. Well today’s the day!

( leafs through Variety devouring the print with his eyes while he gulps the coffee Dawn pours for him from HIS pot)

NIGEL — (mumbling— annoyed)

My bastard agent didn’t put it in!

RORY

What?

NIGEL

That I was starting today at MGM.

(expansively)

To think 1 finally made it. The Tiffany of studios. What an assignment! I can see the credit —

(fiyiger tracing the letters in air)

“Lassie Get Down. Written for the screen by Nigel Xavier Flatbush!”

DAWN— (clasping her hands enraptured)

MGM— it seems too good to be true!.

NIGEL

I’ll write like a fool!

•• DAWN

1 know you will, 'darling— And darling, can I put a down payment on that bracelet, just to commemorate this day? 1 guess I’m sort of sentimental.

NIGEL

Yes, baby— but make it a check. We can always cancel it.

D A WN— ('hugging him)

Oh, baby —

NIGEL

They’re only hiring me week to week* you know. Let’s see how I do— Goodbye, you all!

(He exits with a confident wave. Dawn sits, sips her coffee and reads Variety)

RORY— { rising)

Dawn, can 1 borrow your Nash? The kids all laugh at school because my Chevrolet is dirty. You never have it washed.

DAWN — (eyes on Variety)

No, Rory, dear. L need mine for something important.

RORY— (mumbles an oath of disgust)

Besides, all the other fellows are getting an Olds con* vertible for their graduation!

■ DAWN-

1 know, Rory dear, but your father doesn’t want to spoil you. He wishes you to have a normal boyhoOd.

■ RORY !

Don’t give me that. When I played football, didn’t Dad buy me a platinum supporter —?:

: GAWN. ■.

Yes, but your father knows what valuable contacts you make in a locker-room.

( Rory kicks a chair, grabs his books and sullenly starts out) .

(Nigel dashes into scene, panting, panicky, his beret disheveled. He staggers, clutches his pounding heart, and yulps some water) :

DAWN— (jumping up)

Daiiing, what’s the matter?

NlGELi— ( go ie white)

DAWN

in a Buiok.

■-. NIGEL.

He can afford to— I can’t. It would be coriiplete loss of

face for me. - ^

(He cradles his head in his arms and sobs on the table,

blubbering). ' )

It has to be a Cadillac!

. DAWN— (anguish, like the: Irish Players)

Oh,' Godi What’ll we do? What’ll we do?

(She cries on the table. Rory starts to sniffle) .NIGEL^( straightening up— pulling himself together) i must keep a tight grip on my nerves. I got a good glimpse of the thief at the wheel. He was blonde, arid a very low-class type— had lapels on his sportcoat.

. (rising— to Rori/)

Come on, son— we’ll find him!

(He claps his son’s . miUtary headgear on the boy’s head— -a tall fur busby similar to the ones worn by the . British, fusiliers regiments, insignia reading : Stout- fellow Military institute) > .■

NIGEL — (glaneing at watch)

I’ve got a full hour before the studio misses me.

(Nigel and Rory run out of scene i Dawn, distraught, slumps into her chair and feebly, dials the phone,, all strength drained from her body. .She bites her lip to keep from crying) '

DAWN— ( 071. phorie)

Hello— Lillian-^I can’t go to Magnin’s or Saks— riot even to Bullock’s. Nigel may lose his job. His Cadillac’s been stolen! Tell them at Gorshgorn’s— teill them^not to hold my bracelet. ^

(She collapses on the table— like. Madame X or The Trial of Mary Dugan)

LIGHT BLACKS OUT ON HER--LIGHT UP ANOTHER PART OF STAGE ON NIGEL AND RORY tramping over the city. Nigel takes Rory’s hand. Dramaticmusic is over scene. Street noises on record in b.g. Lighting indicates it is growing later.

NIGEL

You look that way-^I’ll look this—

RORY

Is it nighttime yet?

NIGEL— (looking at watch, derperdtely)

It’s only 10 in the morning— that’s smog.

RORY.

Dad! Look! There he is outside Schwab’s!

NIGEL

There’s my Cadillac! He’s driving away!

(Both start to run— remaining in the same spot — lights flickering over them Id indicate the chase)

NIGEL— (shouting) .

Stop thief! Stop thief! Police! Police!

POLICEMAN— (entering scene)'

What are you doing on foot?

NIGEL — (pointing off)

Officer! That’s my yellow. Cadillac —

( relaxing'— in despair)

It’s gone!

(The cop has been writing. He hands Nig el two tickets)

NIGEL

What are these?

POLICEMAN

Two tickets for jaywalking.

NIGEL— (pointing off)

But —

POLICEMAN

Want me to add— insulting an officer?

(Nigel gulps— COP exits)

NIGEL^ — (to Rory— looking around like Alice -in-Wonder- land)

We must be in Beverly Hills.

(they walk disconsolately)

Had no idea we had walked so far.

RORY

Wait-— let’s ask Mr. Schwab if he saw the thief— and knows who he is!

NIGEL

Of course— It’s worth a try.

(They open door. Noise of drugstore)

. NIGj!.L

Hello, Mr. Schwab. Have you seen any suspicious look- ing characters in here just now?

DRUGGIST — (entering).

All my customers look like suspicious characters. What’s the matter?

■ NIGEL

My Gadillae’s been stolen. I can’t go to work at MGM without it!

^ ■.. . DRUGGIST

Oh, my God! That shouldn’t happeu to a producer/ Now about your benzedrine bill— it’s over $800—

NIGEL (backing away)

The check’s in the mall.

( Nigel hurries into street, closing door. Of drugstore. Street noises in b:g. again. Nigel tramps on— looking to right and left, not noticing that Rory is no longer beside him. Then he sees his. son is gone arid grows

John Garfleld

Hollywood,

What’s a guy to do?

Have you ever had the feeling you're a juggler with four^ clubs going at one time? With hecklers, yet?

Suppose you were a guy like me, with a fair share of

success in, pictures, and good notices on Broadway plays , you have appeared in. Suppose you genuinely, legiti- riiateiy, sincerely like to do both. Why shouldn’t you?

' :Why?- . .

You’re in Hollywood making a pic- ture. You announce that, as soon as this picture is finished, you’re go- ing to New York to he with your family arid to try to set a deal to appear iri a play. You’re happy about it. What happens?

You get a banner in a daily paper that says “Garfield to leave Hollywood forever.’’ Somebody editorializes that you, who have been treated so cordially by Movietown, are a deserter. Why should aniyo7ie want to go back to Broadway? Gut here; there’s money and sunshine and a medium that reaches millions. ’ ■

If you try to correct that impression by stating that acting is your hobby, that you’ll go On acting as long as 200 people gather in a barn to see you, get set for another blast. You’re a ham. You call making millions a year, “a hobby?’’ What’s the rnatter with polo?

You can shrug your shoulders, biit you’re nOt through. Broadway has its beef. You consider yourself an actor when the Group Theatre accepts you way back in 1933; You get a break in pictures. To you, it doesr.'t matter if they call you a theatre actor or a movie star. You’re acting, arid you’ve added a medium, not changed one for ariother. But some of the Broadway wiseguys. w’ou’t have it that way. Go back to Gotham and they load your mail with vituperation. “Whyn’t you stay where you belong?’’ “Whatta you movin’ pitcher actors, mean by coming here and taking bread from the mouths of thiltir actors?’* they ask. To them you’re the Hollywood big- shot whose “name’’ and not ability carries top credit. You begin to wonder.

It isn’t all that way. But you hear it.

Then the announcement is made that you are going to appear in “Peer Gynt” for ANTA. A press agent who likes anomalies points out that you are going to work for $80 a week, you who get $100,000 a minute in Hollywood. You income-tax dodger, you! Why don’t you turn all your money over to the Government? You only work in pic- tures so you can make enough money to indulge yourself in the luxury of working for nothing, which you can afford, but .nobody else who really needs the money can do!

Whom are you trying to impress? Who ya kidclin ? What’s the angle?

Don’t try to protest. Don’t bother saying you would, have worked for nothing to get the chance, to do . “Peer Gynt,’’ the realization of a lifetime ambition. You’d have paid for the privilege. Don’t tell anyone what ANTA means to you and to the people. Don’t point to Helen Hayes and Katharine Cornell and Louis Jouvet and the others; they’re having troubles of their own.

■ I

Just 8 Hours Apart

The Cadillac’ ■ stolen!

Oh, no!

"'■NIGEL'

Just when I’ve got the best job in my Whole career— Now I’ll lose it!

' ■: ; 'DAWN.

Why, darling? , Just take a bus or a streetcar to Metro.

'NIGEL/;-

Are you insane? 1 can’t go to take a $2,000 a week job and arrive on a bus! I’ll lose face.

DAWN

Use my Nash or Rory’s Chevrolet.

w, . . Nigel

You out of your mind? La.st week a Dodge tried to get into Romanoff’s and was pushed back into the street. You know they riever accept anything but Cadillacs.

NIGEL /■

Rory!

(he looks around wild-eyed) RORY— (running in) NIGEL

panickg.)

Rory! Rory!

Oh— niy God!

Hi-^

Where were you?

L RORY . ■■■ \

In ochwab’s. I stopped to get Ava Gardner’s phone number,

NidrEL— (slappmg Rorjy’s face)

Ungrateful wretch. How can you think of anything else when we haven’t found the Cadillac!

(The boy mortally hurt, pouts. They continue to tramp, Rory keeps sullen distance from his parent They open

(Continued on Page 54)

You hear talk ail the time about the pocket-size of the world, that everything has been telescoped. New York and Hollywood aren’t 3,000 miles apart; they’re eight hours away from each other. It’s a short Sunday drive to the country, from Vine Street to Broadway, What’s all the fuss? Who’s .going anywhere? I’ll be right back. I’m just stepping out for a bit of fresh medium. L want some radio, and some television, and pictures when they want me. and plays ditto. Can’ll?

A writer has something to say. He chooses what he thinks is the best form of expression for. that idea. It may be a play, or a novel, or even a letter to the editor. A painter picks water color, or oil or charcoal as his medium of expression. Why not an actor? I don’t think pictures would let me play a lyrical character with great humor, a man who ages from 21 to 70 as I do in “Peer Gynt.’’ 1 can try it on Broadway.

The play, as I say, is something I’ve wanted to do for- ever. Every time I’ve been interviewed, I’Ve said “I’m going to do ‘Peer Gynt’ someday on Broadway.’’ ANTA has announced it for sure this time, but I’ve been accused of crying wolf coast-to-coast. Well, seeing is believing (with notable exceptions) and when they see it, it will be too late. A fait accompli overrides the desire to see anyone eating crow. You’re too happy when you’re doing something ypii’ve wanted to do always.

And something . else. I’ve got a chance to act in a picture I think a lot of; “He Ran All the Way.” I liked the book, 1 like the script and best of all, I like the. idea of having a say in the production. It is being produced by Bpb Rpb* erts^ Productions, in which 1 have a financial interest. Don t. think you’ve eliminated howls of protest when ypu reach semi-producer status. You work half a career- time getting to the ppint where ypu can offer suggestions that may or may npt be accepted on merit, rather than refused on the .snide basi.S that, ah actor is puttiiig them forth. ^ A inugger ought; to know values. : Whal’s the beef if he.; ha.s a say-so? I think every motion picture aetor with expenence can enhance a script. At, least he ought to be li.steried tp. I’ve got a break . I can. But don t envy me 1 still have to answer for it. .

I ve vyorked hard to earri the right to choose niy scripts, on Broad way, It’s a holocaust in Hollywood.

Well* there’, s a si ni pie resolutipn. I’ll just have to make up my own mind to do whatl want to do— if my wife lets me.. . ■ . •

The fighter was blessing himself in his corner be- fore the big fight at Madison Square Garden. The ^0 (he priest sitting beside him arid u ‘ ^ ^ help .lim?” And the Prie.st answered:

If he can jjunch it will.” Joey Adams.

Wec1ne0day9 January 3, 1951

Forly*fifth Anniversary

pictures

Testing, Is Ready to Roll

By NATHAN L. HALPERN

Theatre television was Just born during 1950. The year began with two permanent theatre television installations in the country, left over from the embryonic year be- fore. The year is ending with 15 per- maneht installations, nearly all completed in the fall.

From two metropolitan areas, theatre televsion grew to 12. Scat- tered prograins— -about 25— had been carried via theatre television during the previous year, 1949, all borrowings from home television and available free of charge in homes. From the fall of 1950— in about three months--^75 programs have been oh theatre television.

For the first time in theatre television history, exclusive tele- vision programs were presented; that is, television programs ayail- a bl e only in theatres and not in liomes. Exclusive programs would have to become the main bill of faro in further television develop- inenls in theatres.

As 1951 came into sight, theatre television seemed poised for its first year of. large scale growth, A“ minimum of 200 theatres appieared ready to enter the field. Ambitious theatre television projects were be- ing cooked up, ready for ''serving to the public during the year;

Alter: the intial hump was over, theatre television might move fast —as only a boxoffice medium could, once It hit the jackpot with a new 1 y pe of attraction, like the famous Jolson “Jazz Singer,” did for sound, after years of experiment- ing. .

Meanwhile, progress on another theatre teleyision front took place. — the FCC t granted hearings on requests for air channels for the motion* picture industry. These hearings would take place during 1951, probably by spring. Impor- tant too, was the creation of a non-profit, , nationwide organiza- tion, National Exhibitors Theatre Television Committee, to promote and encburage..all exhibitors in the- atre television progress.

The past year’s practical experi- ence in theatres before paying au- diences has been valuable for the future Of theatre television. It has been demonstrated again and again that audiences are enthusiastic about theatre televised events. The audience reaction to the sports and news events shown on theatre tele- vision has revealed the solid basis for the growth of television attrac- tions in theatres as supplements to the basic film product. The im- mediacy.: of events seems to be transmitted to theatre audiences so that their reaction is different than to films of such things. The audi- ences arc stimulated into the emo- tions of crowds present at the events thomselyes.

It has been evident at this early

stage that promotion and exploita- tion are too thin in theatre televi- sion today to make the medium a regular boxoffice item. 'This stems mainly from the few theatres in- volved. Considering the large budg- ets of home television manufac- turers and broadcasters — the few sporadic theatre television events are well buried at present in a far portion of the peanut gallery. When enough theatres are in the swim, the shiashing Will cOme to the direct attention of the general public and stimulate interest and boxoffice on a large scale. So will more regularity of programming.

E^or the interim, boxoffice tests on most theatre television today are not very'realistic because the medi- urn cannot afford yet top attrac- tions and promote them on a boxof-'J fice basis. Even then, most theatres 1 have done better than normal busi- ness on m o s t theatre television ! events. When gOpd exclusive the- 1 atre television attractiohs were f available --- the Chicago theatres ;

I carrying top Big 10 football games j I sold out a: few weeks in a row, and j I turned away an estimated 7,000; people one week and 3,000 people the following week.

The next step was to develop g 0 0 d television attractions for I j theatres to go alongside good film . attractions, and stimulate public ! interest in motion picture theatre i attendance lip and down the line. ! i The programming directions would ; have to be explored when suffi- i cient theatres were installed, and based on public reactions, the the- atre television program blueprint ! would emerge. |

The ayailability of good attrac- 1 tions oh theatre television awaits i j, the development of purchasing' power by additional theatre instal-] lations, the imagination of creative ■ people and aggressive exploitation j by showmen. On the physical side ] there remain equipment improve- ! merit problems, material and facili- j ties shortages caused by . defense ’ requirements, progress in techni- !. cally better television pictures, arid incorporation of color television. |

Through the fogs that enshroud - all new fields at the start, theatre .

television was being born. The , year 1951 promises that theatre television- will take off its baby , blanket for its expected entrance I into the television sweepstakes.

Two questions have popped up in my mind from time to time ever since 1 was a poster clerk in Aus- tralia. I have never been able to

ansvver these questions to my own satis- faction, nor do I attempt now to answer thepi for the reader.

The first question per- tains to the ambivalence of Us movie folk, and the sec- ond relates to

Alfred E, Pair

bur fraternal attributes.

Why is it, I have often asked, in time of crisis do we find bur- selves so closely bound together in one little family; and bri the Other hand, in the normal course of events, do we find ourselves sponsoring issues rather than unity.-

Why is it, also, that at all time!( we find affinity fOr everyone in our business whether he be in Brazil, B e l g I u m , Johannesburg, Des Moines or New Bedford,

It has been my privilege tc know showmen in every part of the world, and fundamentally every showman manifests the same psy- chology. Perhaps this is why we can rightfully say that our busi- ness seems to be directed with the same dynamics wherever it is.

On the other hand, despite this apparent kinship arid community of thinking there is much dispar- ity apparently between the vari- ous branches of our business.

Exhibitors all over the world nurture attitudes about distribu- tors, and distributors in turn de- velop attitudes about exhibitors.

Not until the Council of Motion Picture Organizations came along did We crystallize the long overdue matter of common interests which have to be cultivated if we are to meet the many problems confront- ing us with any degree bf success.

The sooner pur Industry in this country realizes that Our welfare must be integrated with the wel- fare of the industry throughout the world, the sooner we will be able to aequire the type of stability that will insure us against inevitable crises.

Now that I am actively engaged

By ALFRED E. DAFF

I in the distribution of pictures in j the entire world, I would like to I see the American industry through j GOMPO give thought to bringing into the fold our colleagues in all countries.

I know that they are of the same 1 mind as we are and I know that their problems are the same as ours.

I. know also that they are hop^- tul that the future will see a closer coordination between their inter- j ests and our own, and that geo- graphical remoteness will no long- er be a hindrance to their active participation in the solution of our. ' common problems.

The world is truly shrinking as

: far as the distribution and exhibi- tion of films is concerned. Recent- ly, we at Universal had the benefit of a global conference in New York. This conference, which was attended by. our publicity repre- ' sentatives from all pyer the world, proved to us that American tech- niques are compatible with every- ; one who has anything to do with 'the promotibn of; films. '

! We have to constantly remind our industry that as far as the j distribution and exhibition of i films are concerned, we are truly living in one world.

Economically we can only move , ahead here if we maintain our i good health abroad as well as at home. ..

( Traffic Division)

By MAC BENOFF

; Hollywood.,

.Right-of-ways being important in all Walks of Hollywood life, the writer hereby submits for consid- eration of the Greater Los Angeles City Council rules of etiquette to be obeyed by all members of the motion picture industry. In view of the fact that sportsmanship is of the highest drsirability, it is recommended that all industryites memorize the code below before leaving their barracks tomorrow morning.

Low-priced cars may overtake medium-priced cars on main traffic arteries, but never on side streets. If medium or low priced car wishes to overtake high-priced car the horn must be honked gently, and the honker may proceed only upon a similar signal being re- turned. English cars may never be overtaken by any car, except Cadil- lac ambulances. Cadillac converti- bles have right-of-way oyer Eng- lish convertibles, but not Jaguar, Bentley, or Rolls Royce sedans. English Fords or Austins do not count as imports, but are regarded as medium priced, American manu- facture.

The following is an example of procedure from a standing start : red light has turned to green and 1949 Chevrolet, 1950 Mercury and 1942 Cadillac- are abumper. The

• r

Acad Closes ^50 Rolls With 43 New Members

Hollywood.

Academy of Motion Picture Arts and Sciences closed its member- ship ranks for the year with the admis.sion of 43 new members. They are: . .

Philip Dorn, Robert Brower> Jacques Mapes, Edward Colman, Al- len E. Irving, Robert Wise, Ellis G. Arnall, Gunther R. Lessing, George D. Stephenson, Jack Ogil- vie. Irving Aaronson, Saul Chaplin, Roy D; Croft, Gordon Gordori, S. A. Israel, Mark Kelly, Robert H. Rains, Julian Seltzer, Harry Tytle, Melville: Baker, Lou Breslow, Oscar Brodney, Warren Duff, Ken Eng- lund, Devery Freeman, John Free- man, Everett Freeman, John Klemp- nor, Albert E. Lewin, Oscar E. Mil- lard, N. Richard Nash, Frank .genfi' Liain O’Brien, Charles Palm- er. Eijnest Pascal, Martin Rligaway, Robert Richards, Dwight Taylor,

Virginia Van Gpp. Irlngarde Von Cube, Charles E. Goldie, Ben Nye, Rose Meltzer : nnd Alfred P. Chamie.

War Stalls ‘Atom’

I Hollywood.

Unsettled conditions in the Far prompted 20th-Fox to aban- <Mn the filming of "‘Atom of Love,” ^iinounced as a sequel to “Come to Rio Stable,” co-starring Loretta doling and Celeste Holm.

SiUdio aimed to shoot the film in "‘‘pan, currently out of bounds be- oauso of the Korean .iluation.

GEORGE SIDNEY

• one of HoIlywoocVs outslandihg directors,. AVhp.se late.st release is “Annie Get Yolir Gun” Is currently directing “Showboat" for Metro-Goldwyn-Mayer where he is under contvnct

Sidney’s first assignment of the new year Will be “Scararnouche.’*

1950 Mercury must take prece- dence, but any Cadillac entering the starting zone within five seconds must be given .fight-of-way, . Traffic takes this order: Mercury, backed by Cadillac, trailed by Chevrolet, unless the Chevrolet is a car be- longing to a producer’s wife (major lots only), and the pro- ducer is using it that day. If this is the case the Chevrolet goes to the front, preceding the Gadillac,. even if driver is writer making $1,000 weekly. If writer makes more than $1,000 weekly, writer goes first, providing he is under term contract. If employed on flat deal, or be independent, Cadillac gets behind ’49 Mercury.

In the event of accident, i.e. ex- ecutive cars (major lot. producers, directors and Academy Award-win- ning writers) hitting cars of lesser standing ( independent producers, directors, writers and anyone else above assistant hairdressers ) , the executive remains seated in his car until other driver reaches him. If the other party has been hurt, It is permissible for stretcher-bearers to carry him to executive’s car* If unconscious, the other party must give written notice within 10 days after revival. If ei^ecutive hears nothing within that time he has right to sue.

Lesser car being hit by execu- tive car is not considered an “acci- dent.” “

In event court action becomes necessary, lesser party cannot en- gage law firm with more than three names, hyphenated names count- ing as two; e.g.,^ Hinch, Smytlie- Twombly & Bernstein (assuming, they take the case ) counting as four narhes. In the event execu- tive wishes to settle out of court, lesser party is not allowed to ac- cept more than value of his own automobile. This Is determined by taking to used car lot before re- pair work is done and asking “How much will you give me for it?”

In the event that writer is work- ing for producer with same color and same model car, writer must use another parking lot. Producer, if under contract, however, may force writer to repaint car. If pro- ducer is not under contract and writer is, producer may still en- force rule, but must pay half of paint job.

The above rules shall apply to all zones in Los Angeles, including Gardena, where producers out of work who are acting as croupiers are moved down wo notches to top salaried writers. Infractions in . Beverly Hills count double. MGM is declared a free area. New rules are now being considered for RKO,: where cars of employees are not allowed in Airport area, Fox^ Para- naount arid Universal have been reported lax in the proper enforce- ment of traffic rules, but strin- gency continues, at Columbia, where, there is no court of appeal above the front office. Warners is te-‘ garded as no-man’s-land. Republic has never' stated willingness to enter into agreement. Everything in above also applies to Monogram except substitute for the word “automobile” the words “motor scooter.” Independent producers possessing cars with bank financ- ing have major-lot director’s rat- ing, but all others cannot bring court action against anyone with- out furnishing a completion bond for the case a month in advance.

PICTURES

Forty-fifth p^AHIKTY Anniversary

Wednesday, January 3, 1951

Vagaries of Film ^ggo _ ©r Bust

Iiicoiigruitics of tlic Holier^THaii-Tlious —OK Via TV, NG in Tlieatres

By ERIC jOHNSTON

(President, Motion Picture Association of America)

- Washington.

Peoi)le who piously intone that “freedom is indivisible,” but duck away from the idea that the motion picture should he free from official censorship, have long tempted me to

pass among them with a spray gun.

As of now, I am resisting this urge , in the justified hope of watching them succumb to a slow burn, embarpssed to death by condoning a vestigial ab- surdity on the body politic. Official censorship of motion pictures has al- ways been silly and stupid. Now it s making itself— and those who condone it— look ridiculous. .

Hypocrisy so often gets its back up and stands pat against reason. It can- not so . often abide looking foolish, This is particularly . true among hypo- crites with some claim tO intelligence ; and it is especially true of those who “jest at sears that never felt a wound.”

To wit: certain editors and publishers, but not too many. They classify as double-dyed hypocrites when they define freedom as Indivisible but neatly fence it in for them- selves as a private game preserve against the moUon picture and the radio.

Let us consider them, and then let ' us consider the ridiculous kind of company that the year 1950 has revealed them to be keeping.

When the price of pulp, or a pure food and drug act— to use .extreme examples— Crimps the happiness of these gentry, the air is blue with their screams that freedom of expression is in peril.

Against this heavy artillery, any force— political pr commercial— had better be dead sure that its cause is constitutionally sound . and unimpeachably just. At the first shot, most of us are instantly suspicious that dirty work is afoot, and auspicious we remain until proof to the contrary is unassailable. Freedom of the press means just that much to us, and so be it forever.

While the battle is joined, no one could thunder more feelingly about the indivisibility of freedom than our double-dyed hypocrites, but with their victory. What occurs? . . . - ■

•By JACK benny—— —

Hollywood.

For the past 39 years I have been a devoted reader of Variety. (All right. 3o my mother read it to me the first six years!) Not a Week goes by, but I must set aside enough time to read it through, from the first “boffo” to

the last “literati.”

Like all other young impetuous dreamers, 1 was thinking of the fu- ture the other day, and, more specif- ically, about what Variety would read like 39 years from now, in 1990. (Gosh! ITl be 45 then.) I could see it clearly— ^and here’s What I saw.

The Moon— Bob Hope, who spent three weeks here entertaining pation troops and visiting service hos- pitals j rocketed back to earth late yes- , ■ „ terday for a p.a, at Loew’s Kremlin.

Jack Benny he planned to take his

troupe next to MarSi if he could swing Government okay.

Hbllywood— Wald-Krasna are trying to lure Margaret O’Brien Out of retirement to play title role in “Getting Grandma’s . Garter.” : ,

Eric Johnston

London— Sir Daniel Kaye is making his farewell ap- pearance this week at the Palladium. His Lordship, most popular performer ever to play here, was gifted with New Zealand for his recent four-week stand. ^

New York-^Advance sale for “South Pacific” is still at the half-million mark. . No tix available for next four months.' Insiders hear that Sally Martin, Mary’s grand- daughter, is being groomed for Nellie Forbush role and will debut next month,

New York— Radio insiders hear that NBC is readying a new two-hour segment to buck CBS’ strong Sunday lineup. Web reportedly will spend $327,000. a week for trombon- ists alone! Effort, marking NBC’s 73d attempt to bust Paley’s powerhouse, will use a choir composed of all the Boy Scouts in America, 120 highschool bands, the Met- ropolitan Opera, the original cast of “Gone With the Wind’! and 35 comedians, each Of whom will tell five jokes apiece.

Cheers— With ReServulioiis

New York— Television set manufacturers here admitted they were Ooheerned about inroads being made by new wrinkle in entertainment field tagged “Bagelox.” Unit, built into sweatbands of hats, carries audio part of TV. Instead of screen, a mirage is formed in front of viewer and will work indoors or out. Old line video personnel have hastily formed organization known as TOMPO to combat new medium, to prevent TV following fatal foot- steps of vaudeville, legit, radio and midget auto races.

The motion picture and the radio are right back where they were— looking in; by way of sop to iis now and then, the motion picture is unctuously chucked undor the chin as “a medium of expression”; yes, indeed, and also as an “instrument of communication.” Some of our creme-de-la- creme hypocrites were frightfully happy to give our in- dustry three rousing cheers for rushing ^films into the occupied countries of World War II, but lift a finger for us against censorship by state or local politicians?

Oh, no. Because, ha-ha, after all, we mustn’t get too big for our britches. If the people of a commonwealth or city wish to protect themselves against films that offend their sense of good taste, isn’t that their rightful say-so?

, And don’t we say ourselves that the motion picture is essentially a medium of entertainment?

To be sure it is, and to be sure we do, but reason totters a little in wondering what is decent and what isn’t, and who says which is what and where you draw the line between entertainment and information.

Let us pass modestly by the fact that there is more leg art and cheesecake in the average newspaper morgue than shows up on the screen in a decade; let us also pass over the fact that eminent family journals are plastered with illustrations that would make a burlesque fly sheet look insipid. One wonders if some publishers read their own publications.

Let us see hoW ridiculous official censorship of motion pictures is revealing itself to be.

Example A:

In Marshall, Texas, where W. L. Gelling was thrown in jail for showing “Pinky,” in defiance of a city censor board’s edict, the book, “Quality,” by Cid Ricketts Sumner, bn which “Pinky” is based, is in the Carnegie public Ubrary and circulates freiely.

Life and Look, for instance, reproduced scenes and dialog from : the picture, “Pinky,” and both magazines had unrestricted sales in . Marshall.

How silly can you get? . /

How silly does a presumably intelligent citizen appear When he says it’s all right to show a picture that holds still, but you mustn’t show the same picture when it’s moving.

Example B: :

Some time ago the Pennsylvania state board of censors attempted to extend its authority to the projection of motion pictures by television.

No, said the Federal district Court; you can’t do that, and, rto. said the Cirtuit Court of. Appeals, and that body spoke acidly of the “antique method of censorship Which Pennsylvania endeavors to effectuate in the instant case.’^ So what is the situation in the Keystone state?

A motion picture may not be Shown in a Pennsylvania theatre without the prior approval of the state board of censors, but the same film may be shoWn over television without censorship.

By this profound reasoning, the good citizens of Pennsylvania are periled by contamination if they see an uncensgred film in a theatre, but there is no such dread- ful menace hanging over them when they see the same uncensored film in the family living room/

I believe that fortune is smiling shyly on our unremit- ting campaign against official censorship by plopping these and a whole scad of other ridiculous antics of censorship operations into our hands. We didn’t go hunting for them; they simply came, which makes it all the better.

South Bend, Indiana— Although all spoHing events have been beamed into homes and theatres for the past 25 years, Notre Dame plans to break with tradition. U has quit all radar-video-radio contracts. School has built struc- ture called “a .stadium” and only people sitting there will henceforth be able to view gridiron tussles. How this will affect programming has yet to be determined.

. Hollywood— Wald-Krasna repbrt their deal with Garbo is ready for inking. Famed: silent Swede will star in “The Betty. Hutton Story,”

.New York — ^The Four Singing Crosbys, smash brother act, will he honored at a testimonial dinner at. the Wal-, dorf-Astoria next week to mark their 40th anniversary in show business. Sentimental highlight of the event, which will be attended by top entertainment brass, will be ap- pearance of their father, Harry Lillis Crosby, who will be flown east from his home in Pebble Beach. Oldtimers will recall Crosby pere as a popular singer in his day, sometimes nicknamed “Bing.”

INSIDE S’TUFF— PICTURES— What film hero had breakfast with his wife in New York, jet-shipped to Holly- wood for lunch and a meeting, rocketed to Hawaii for a run on the beach and dinner with a former top femme vocalist, arid was back in New York to take his wife to the Stork that night— -arid she, none the wiser?

ChiGago— Darryl F: Zariuck’s new production, “No Way Qut of a Gentleman’s Agreement,” broke the all-time record at the Emporiurri here for rainy Tuesdays be- tween 2 and 2:30 p.m. In novel tieup with Marshall Field, the 1,200-seater sold 800 tickets and 350 pairs of rubbers, 427 umbrellas during torrential downpour.

Hollywood— Reversing the usual pattern for Success, Wald-Krasna announGe that .in addition to movie interests they are also undertaking manufacture of aircraft. They have purchased the Huge Stool Co., and will convert it to rocketship production.

INSIDE STUFF^TELEVISION-New Kinescope proc- ess is nearing point where it will look like film, according to release from the Airialgamation of Television Research^ ers. Predict west coast will soon quiet gripes aboiit washed-out quality of New York-born shows.

Des Moines, lowa-r-Popcorn and candy manufacturers starting big push to. cut out showing of films in their chain ^^staUrants. Claim that latest crop of good flicks has caused eatery biz to dive, patrons being diverted from food by films. -

Hollywood— The Academy of Motion Picture Arts & Sciences has acquired the i0,000th sweater knitted by Joan Crawford. The gracious star made the special garment in gold lace to Oscar’s dimensions, while sitting on the set of “Mildred Pierce, Girl Flapper.”

Hollywood— JACK BENNY ENTERS PIC PRODUC- TION—First film produced by former comic will be “The life of Wald & Krasna.”

Ellis Arnall

By ELLIS ARNALL

(President, Society of Independent Motion Picture

, ProducSts)

It is becoming increasingly obvious that our nation has entered into an era of national emergency and inter- national crisis.

Irrespective of whether the future holds war or peace,

Our country Will soon be on a wartime basis. There rire many who believe that a wartime economy will be the order of the day for years to come* The motion picture industry Will, as every American business, feel the heavy impact of these emergency con- ditions.

On Dec. 13, 1948, I had the honor of becoming President of the Society of Independent Motion Picture Pro- ducers.

At that time ,18 independent pro- ducers were members of the Society. In the two-year period since then, the Society’s membership has doubled. This is indicative of the fact that independent production is still virile and continues to occupy an important place in the motion pic- ture industry.

But it is ho secret that at this time the independent pro- ducer is confronted with perplexing and confusing prob- lems. In truth, the entire industry is beset with serious trouble; uncertainties are on every side and at every hand.

While the membership of BiMPP is twice that of two years ago, fewer pictures are. being produced by our mem- bers and the returns from these pictures are far short of What might reasonably be expected.

The inroads of television, the monopolies in exhibition, the need for strong distributors, the restrictions in foreign markets, increased taxes and cost of production, afford the independent many headaches and offer small comfort.

However, in spite of these difficulties, experience dem- . pristrates that the amusement indust^ thrives on wartime coriditions and the attendant economic regulations and re- sulting controls.

It is not pleasant to say .that the entertainment indus» try thrives in a wartime economy; but, factually, that is true.

The more difficult it is to obtain houses, automobile^ television sets, washing machines, the more money the public Will have to spend on entertainment.

All this simply means that the picture industry Will enter into a period of increased importance and activity. This, in turn, means increased boxoffice receipts.

Organized in January, 1942, under wartime Conditions, the Society of Independent Motion Picture Producers will, in these days of new emergency conditions, continue to render service to its members and to work in cooperation with the entire industry in all matters and things designed to promote its welfare and success.

'The work of the Society for the past two years has dealt with opposition of exhibition monopolies; opening of for- eign markets for independent product; opposing unfair quotas and discriminations; handling day to day problems, arid cooperating vvith other organizations in broad indus- try affairs. :

As the nation moves irito the wartime economy, the Work of the Society will become more importarit in aid- ing the independent producers in their attCmpt to solve the baffling problems of priorities, controls, labor short- ages, involved allocations and the other vital issues that will arise.

1951 will be a year of challenge and opportunity to the independents and to the American motion picture indus- try. I know that those involved will render patriotic service in seizing the opportunity in meeting the challenge.

Hollywood.

George, the cook at the roadside cafe, had been fired arid there were tears in his eyes as he ordered a drink at the bar. “Don’t you understand, George?” said the bar- tender patiently. “You’re canned for being drunk all the time, and I got Orders to serve you no more drinks. They want you to get out of here while you can walk.”

George shook his head bitterly. “Gratitude,” he said, and then his chin went up. “All right,” he said, “I’ll leave now, but they can’t stop mb from coming back here to be buried.” *

“Okay, George,” said the bartender, “you can come back here to be buried. Goodbye.”

“I’m going to write it down that they should bury me under the left one of those two oaks up back of the cafe. I burled the best friend I ever had under the right oak, and I’m going to lay there in peace beside my old pal, Tom.”

The bartender only shrugged, but I had to know more.

You buried your best friend up there?” I asked.

“Old Tom,” said George, and there were tears in his eyes again.

“Didn’t you notify anybrie?” I asked. “Didn’t you get a permit or something?”

“You don’t need a permit to hury a cat,” said George. He si^ghed. “You know what was wonderful about old Tom? He loved drunks-— and the drunk he loved best of all was me. ’ Some nights I could hardly make it up the hill to niy room, aud old Torn would be so happy he’d purr arid rub against my legs So hard I’d firid myself half way down the hill again. The minute I’d hit the hay old Tom would hop into bed with me and curl up like he was ill cat Heaven. But let me coirie- home sober and old Tom would give me a hurt look and walk right out of the room. Sometimes he wouldn’t come back for two or three days, he’d be upset.

“What happened that you had to bury him?” I asked.

I found him on the highway,” said George. “Flat as a pancake. I could have buried him iuid big envelope, but I folded him up and put him in a box.” George shook his head sadly. “Torn was always so careful on the highway. I guess what must have happened was old Tom saw a car zig-zagging down the highway, figured it was a drunk, and run out to meet him.‘ If that was it, at least I know old Tom died happy.” ^Claude Binyon.

W^ednesday, January 3, 1951

Forty^fifth Anniversary

PICTURES

and Zanuck Interpret

’s Obligation to the B.O.

Hollywood Studio Chieftains Reajipraise the Need to Revitalize Public Interest Via New Faces

And Vigorous Story Treatments

Williuin Go^tz

IM \Vep III Charge of Production Details What He’s Doing About ‘New Faces’

By WILLIAM GOETZ

Hollywood.

I think the most important situatiph facing production for the fiiture is the question of the development of new

talent.

Mark Twain, or some other member of the Screen

Writers’ Guild, once said about the weather, “Everybody talks about it, but nothing is done about it.’* Which brings us to the point in discussion, namely^ new faces on the motion pic- ture screens. People keep talking about it, but at Universal-International we’ve done something about it. Quite a bit, to be sure.

Since the initatioh of Our dramatic school, under the capable direction of Sophie Rosenstein, we’ve been look- ing in the direction of the day when our project would bear avocados. We’ve picked fruit off the tree and

more still is blossoming.

Production executives hear many complaints from ex- hibitors but, unfortunately, they are not uniform and when you try to analyze them you are somewhat confused in trying to arrive at a line where everyone will be happy,

ilcnry Popcorn takes us to task for using Pamela Pen- dorgast because “she’s a tired actress and the public is tired of her,’’ MOrton Flatrental complains about “Holgate Ashton, that old man.” So we give them new faces and what do we get? John Splitweek writes and asks, “Why give us these unknows? Why don’t you use Pamela Pen- dergasl?” And Leonard Longpuss writes, “New faces? Whatzamatta with giving us some names?”

We feel new faces are necessary, now and in the fu- ture. We are making it our business to develop new tMent. Let’s look at the record. Peggy Dow. We started her in “Woman in Hiding,” with Ida LupinO and Stephen Mc- Nally. after Peggy had worked for some time at our school. Overnight we have a new face. Now you see her as Nurse Kelly in “Harvey,” and she does so well we upped her to stardom in “Lights Out.”

Tony Gurtis? A youngster brought out from New York, sent to our school, brought along slowly. This is a new face the public wants and we have put him in a starring role in the Technicolor “Prince Who Was a Thief.”

Piper Laurie. Another graduate whose degree put her in stardom. She shares “The Prince” with Curtis, after serving her apprenticeship in “Louisa” and “The Milk- man.’’ We have bigger and better plans for her.

Jeir Chandler did not go to our school. He didn’t even require post-graduate work.

This doesn’t mean we have abandoned the use of top- flight stars. There are pictures which demand use of out- standing name actors. “Bonaventure” required such a performance, so we brought in Claudette Colbert. We have Ronald Reagan, Richard COnte, Joel McCrea, Mark Stevens. Stephen McNally On our roster, and Ann Blyth, Shelley Winters) Marta Toren and Yvonne de Carlo.

Metro Prodiiclioii Veep Rates ‘New Faces’ Only in Relation to Quality of. Their Talents

By DORE SCHARY

Hollywood.

New faces have always been of major importance to any studio and particularly this one. Whether or not other studios plan on a Steady flow of new talent and set about building it, it’s certainly true about Metro-Goldwyn-Mayer.

It’s known for its development of your actors; it prefers to develop unknowns rather than buy people after they have hit. Like it or not, 60% of moyie tickets are bought “to see my favorite star,” so that building up new person- alities is simply insurance against the ultimate fading of the older stars. And many do fade.

In connection with this, I don’t be- lieve iany producer or director, or what have you, ever really makes a star. In the final analysis, the public

Dcrd Scharv brains put for

those stars in whom we have faith, but f the public won’t go for them, we’re dead. Furthermore, l ou can’t really blame the exhibitor for yelling for pictures A’ith star names in them; it’s the public who makes this Icmand, and what the public wants, it gets. Meanwhile, >f course, as I said, we’re constantly interviewing, testing, ind grooming: likely young people on the Chance that they ‘Vill have that something, which will get across to an audi- mce and turn out to be star material.

There’s no such thing as “exhibitor pressure” on cast lames: Any pressure comes from the public, although bis is a matter that has been debated endlessly pro and -on. However, to the. extent that we try to accommodate [Hiblic pressure, our “freedom to cast” is curtailed. Good ictors— good personaiities— -maintain over the years, and Lhoy’rc the ones the public wants to see. Of course, tiroes iiaye changed since tne days of Wallace jReid, of Valentino n' Mary Pickford, when the mere presence of these people n a picture automatically insured that the picture would be a profitable one. Nowadays, even the best actor can’t insure a profit unless the picture he appears in is appealing io the public, but it’s a cinch that a bad picture without “ is a flop anyway. It‘s not to be denied that if the public wants to see an aictor, the studios are only too ijappy to try to get him, but this could hardly be called nogtieing’’ the casting department.

I' or a good picture — and let's use “Father of the Bride,” bi' example— people will buy tickets, and if Spencer Tracy

hadn’t been in this one, it still would have been a good picture. But with Tracy in it, the picture was that much better, This is because he’s an able, experienced actor. People know he’s an able, experienced actor, and they are confident that when they see his name heading a- east the picture will be good of should be good.

Meanwhile, bearing these things in mind, we continue to groom new actors whom the public will come to know and like so that. When they take the place Of the older actors in the normal course of events, they will be good actors, as well as good business investments,

The term “ancient” actors is, I think, unfair. If by “ancient” the exhibitor means old in years, and that such an actor is still a star, and still draws, the length of time he’s been on the screen has nothipg to do with the case. And, if by ancient you mean enduring; this is all the more tribute to the actor’s powers in his craft.

Incidentally, a cafe star-^someone enormously popular with a limited audience — may have a likely “fresh, new face,” from his limited point of view, but almost invariably these special talents don’t pay off.

the public will be interested. Their pressure is practical and helpful.

As to “ancient stars” so-called. Variety files will show: endless examples in show business of faded stars who bloomed into new brilliance when things meshed properly. Sometimes stars fade for reasons out of the studio’s con- trol, sometimes because stu^dios make mistakes too. But the right thing comes along and the words “faded”, and “ancient” are forgotten.

Costs

Degrees of Prod. Costs

Production costs have reached a good point of opera- tion, but “a good point of operation” doesn’t automatically mean that costs are down to a minimum. It depends, after all, on the picture involved. “Quo Vadis,” for ex- ample, cost something in the neighborhood of $7,000,000— a fabulous sum but applicable to this particular picture. To make it for less would hurt the scope of the subject. “The Next Voice You Hear,” for another example, was in essence a simple picture.. Its cost, which was low, was in keeping with the subject. An ornate, expensive pro- duction of this story would have been out of key, false and possibly vulgar, so to speak of minimum cost by itself might well lead one up the garden path. v

It’s a question of quality. “Quo Vadis” will have qual- ity, and “The Next Voice You Hear” has quality, and certainly there’s a vast difference in the price of each of them. The sensible thing, After all, is to make pictures practicably and not wastefully. Taste and judgment are the best guides.

Meantime, the industry continues to develop new writers, directors and technicians for the same reason that we develop new acting personalities and, in most cases, with even better success. Here at Metro, for example, in the last several months we have taken comparative tyros in the field of motion picture direction and assigned them as full-fledged directors — ^people like Fletcher Markle, Harold Kress, Gerald Mayer, Norman Panama & Melvin Frank, Richards Brooks and Don Weis. Iri the production field we have a number of new producers, experienced in. other fields, of course, but nonetheless given an opportu- nity as full-fledged producers:; Sidney Sheldon, George Wells and Robert Thomsen.

About the only solution I can think of to deal with film “cycles” is perhaps to start them— in other words, to be there “fustest with the mostest.” When you make a pic- ture dealing with an unusual subject, done in an unusual manner and the public takes to it, then, inevitably, carbon copies will appear. I don’t have to tell you that most of the carbon copies are inferior, not because the pictures are necessarily any less well made (although this is cer- tainly too often the case), but simply because other pro- ducers are trying to cash in quickly on the original suc- cess. Again, it is the public who expresses interest in this unusual subject, and, as a result, many of the producers who imitate the initial success try to get some of the gravy. Unfortunately, too often many of these imitations come too late in response to the public demand, and the producers are left with egg on their face.

WB Topper on Star and Story Values; Large Budgets Don’t Necessarily Insure ‘Big’ Pix

By JACK L. WARNER

Burbank, Cal.

Star-finding and story-finding are the most difficult jobs we have. In spite of the recent philosophy that names are not important, we still need stars in good stories to achieve the boxoffice ideal. For this reason I think the

Starmakers Contest being advanced by the Council of Motion Picture Or- ganizations is good. Any idea that brings hew and interesting personali- ties to the screen is good.

Sortie stories can succeed without knowns, but art analysis of motion pic- tures shot with unknowns shows that it is the occasional and relatively rare exception for such a picture to click, When such a thing happens, the im- mediate corollary is a* flood of talk that “You don’t need stars.” Be- cause it . can happen once in a while doesn’t mean that it will happen every time it is tried. When it does happen it is because the finished film is so fortuitously Conceived and executed that it jells at the boxoffice. But who can tell how much better it might have done with “names.”

J. L. Warner

Established Names

For the long pull it seems to me to be the wise measure to use as many established names in proper roles as you possibly can, all the time doing your best to discover new star material. It is my sincere conviction that the motion picture industry has room for all the stars it can find and

build. ' , .

The responsibility of what people call star-making is very great It is an involved process. It is heart-breaking and gratifying at the same time: , . , . , .

Exhibitor pressure is for strong saleable pictures. Their interest is the same as ours, rtaturally enough. They keep us posted pretty well on the draw of various personalities and they tip us off to newcomers in whom they believe

Moving from stars to expenditures in productions, costs basically are identical for specific details of production- labor, talent, physical materials, and the other things that go into .the making of a niotion picture. In other words, there are established rates for labor and talent. It costs so much to build a set. It costs so much to score, edit, etc. The final cost is determined by the story itself— and control.

Control is necessary to avoid waste, whatever the cost of the picture. A picture made for $192,473.29 isn’t worth it if those costs don’t show on the screen. Every effort has to be made to get the greatest number of dollars possible on to the screen. That is basic good business. Extrava- gance is basic bad business. There’s no such thing as a cheap picture if the dollars spent achieve a successful result. A low budget picture, smairtly conceived and ex- ecuted, is better than an extravaganza on which money is lavished thoughtlessly. The word “cheap” is a bad one to use on a fine picture which didn’t happen to require a large expenditure. Cheap, furthermore, has another meaning than monetary. , Many pictures are cheap in concept and approach even when millions are spent on them. They’re cheap in the other sense, which is a good deal more harm- ful to the motion picture industry than films which don’t cost a great deal.

Regarding the problem of bringing costs to a minimum, I think the answer is, “More thinking has to be done.’' One of the most serious errors ever made is the belief that money makes motion pictures. A billion dollar picture can be bad! To make a successful motion picture it takes inteRigence, ideas and the ability to create entertainment the public wants.

Meanwhile, there is the matter of repetitious themes. I think the best solution is to avoid vicious cycles. T^ere is no use going ’round and ’round the same wheel. On the other hand, you can say there is no such thing as a cycle, only a succession of mediocre pictures on the same subject. Because when you come down to it, the gopd musical will always entertain and do business although there have been a hundred before it. The same goes for every classification of entertainment. If it’s right, whether at the beginning, tail-end or in the middle of a sequence, the right one succeeds. So again it boils down to trying to do the right thing at the right time.

Darryl F. Zanuck

20tli-Fox Production Chief Cites Studio’s Own Impressive Roster of ‘New Faces’

By DARRYL K ZANUCK

Hollywood.

Hollywood is undergoing a period of transition, and in my opinion nothing is more important to meet the chal- lenging conditions of the future than the development of New Faces.

Marked strides have been made in quickening the pace of production as a means of effecting economy with the least disturbance to employment.

Equally marked has been the improve^ ment of product by a more diversified and higher quality in story content.

But the problem of creating new stars continues and always will continue.

The need is all the more urgent now because every studio is faced with the necessity of boosting its annual output due to the shrinkage pf playing time in first runs of individual pictures.

I haye not lost Confidence in the ultimate improvement of boxoffice conditions. Innova- tions which gain popularity in the entertainment world have, froirt time to time, set back the patronage of motion pictures, but the passage of time , eventually restores films to the forefront of public appeal. Attendance has dwindled, but there is no disputing the fact that the pendulum will reverse its swing. Cinema houses will again be filled to flowing for those who have patience and the aggressive showmanship to lure their customers back when the turn in the tide arrives.

One of the indispensable methods of reviving the public interest in motion pictures is the development and intro- duction of new personalities. Whatever may be said about ‘The play’s the thing,” the drawing power of the public favorite will always be a strong factor in attracting ticket purchasers. This is true in every phase of entertainment, baseball, fbotball, the prize ring, horse racing— and Show Business.'. -V, •

In any part of the world the public chooses its idols and gives them preference and patronage. The cry of “The king is dead, long live live the king,” springs from a deep-founded instinct in human nature. For the inipulse of hero Worship will never expire. It remains for the pic- ture industry to find new personalities capable of becoming heroes as a necessary part of the. task Of recapturing public patronage.

Here at 20th Century-Fox studios, we feel that we have done our full share in the creation of New Faces for the coming campaign. In recent years we developed or intro- duced such stars as Anne Baxter, Valentina Cortesa, Jeanne Crain, June Haver, Jean Peters, Mlchelline Prelie and Gene Tierney, among the women, and Dan Dailey, Paul Douglas, Clifton Webb, Richard Widmark and Cornel Wilde, among the men.

PICTIJRES

Forty-fifth P^SHETY Anniversary

Wednesday, January 3, 1951

By CHARLES EINFELD

(V.P., Ad^Puh, 20fh Fox Fihn)

Most important industry-wide project that I would like to see ' accomplished during 1951 is for GpMPO to encourage and urge the exhibitoi's of America to unite, ; then join the producing companies in a great national promotion ef-. j fort simiiar to that . currently iii effect by the American Television Dealers & Manufacturers.

A hard-hitting series of large , space institutional, ads should be ; placed both on the national and local level and should resell the ■ unique advantages of rriotion pic- ture theatre-going to the public. This series of ads w'ould list only the most meritorious film produc- tions, regardless of which com- pany had produced them, and put forward our united best foot.

Just as important as this type of promotion vvould be the estab- lishment of a whole new advertis-^ ing structure among exhibitbrs similar to the Ford and Chevrolet dealer funds vihich have existed for many years In the automotive industry. The Fprd Dealer Assn, fund, for example, is a separate appropriation amounting to mil- lions of dollars contributed en- tirely by the dealers themselves, administered separately by 32 ter- ritories by the Ford Dealer Assn., with individual dealers within each territory conMbuting accord- ing to their respective sizes and sales within that territor3\

These associations place local radio shows, newspaper advertisr ing and local TV programs to pro- mote the product they sell, both on an institutional and an individ- ual project basis, and responsible for the vitality and keen competi- tion which prevails in the auto- motive field. There’s a lesson here for pur own Industry.

I Get ^Em Back Into the Habit |

What we’ve got to do is make movie-going a habit once more. The industry has the advertising and promotion talent to do it. | Maybe oiie of the answers is off- the-mOvie-page ads, with special appeals to those who don’t turn to movie pages anymore or never did. What happened to the old mailings j the chains used to get right into the homes with news about cur- rent and coming attractions, about the stars and stars-to-be?

Let the exhibitors go to town, i They’ve got a tremendous stake in j this, too. Let them spend some | money on ads and exploitation and let them grab that publicity space locally. The producers and dis- tributors can’t do the job alone. It takes both hands, both sets of eyes, minds and bodies.

By N. B. SPINGOLD

(V. P., Columbia Pictures )

I have no specific thoughts as to the future but I do have a report on the past year, and some things I have learned during the most rectn 12 months.

I have learned something about, if T may use a dirty word, televi- sion. I ^ have learned that motion pictures may be sold via TV, that

viewers may be pried away from their 12-inch screens and induced to put their dough down at the boxoffice. This, I think, is. very significant. It goes a long way toward dispeiling the miasma cre- ated by the “This-is-thb-end!” boys,

By the sanie token, it is no pana- cea. Not every picture can be sold with equal success in this medium. (Note: Not every picture deserves the same suecess,) But it has been proven, to my and bur satisfaction, that the proper use of television can be a positive and beneficial advertising force in the merchandising of motion pictures in thei theatres.

I Big TV Peteiitial j

We have made no great mystery or secret of the results pf pur tests. In Los Angeles; for example, on one of our releases, “711 Ocean Drive,” it was found that at least 25% of the tickets purchased in the first-run engagements were di- rectly attributable to our television campaign. It was found, through painstaking investigation and re- search, that the attendance at the theatres of persons from homes with television sets was almost dou- bled by our TV campaign. (This was determined by also checking the proportion of set-owners who attended the two previous attrac- tions at the theatres.)

This result was achieved by nei- ther alchemy nor accident. Our TV spots were carefully made and carefully slanted for this particu- lar medium. They were not clips from the feature. They were spe- cially written and specially shot.

To further illustrate this point, pur TV spots on ”Born Yesterday,” a little number currently on view, were shot at the studio— with the original cast— from special scripts —and directed by George Cukor, who directed the picture. Each one— whether it be 15 seconds or a full minute — is a completely in-

By MAX E. TOUNGSTEIN

(V', P., Paramount Pictures)

I believe that there . is public apathy towards films because films themselves have become too formu- larized. Too many , sound like something the public has seen be^ fore. The art of programming the output of our. Industry has appar- ently, been lost. We are trying tp play too safe, and in playing safe, adopt formulap ictures or cycle pictures, I think, in recent months, the situation has improved, but I don’t think it will ever be solved until a real programming job is done by every studio, both individually and cooperatively.

At the present time, the whole industry is , being swamped by Westerns, many of them very good, but just too many of them at the same time. All of the companies are bound to realize less money on these pictures because they have all tried to ; rush put at the same time with what is basically the same, type of picture. 1 believe that the mefehandise itself, namely, pic- tures, is our basic pfoblem, and secondly, the job of merchandising them. I don’t think we are doing a good job of merchandising our films, and I think the primary fault of this is the inability of our in- dustry to .reach a satisfactory and equitabie basis of cooperation be- tween the exhibitor and the dis- tributor. I think we are getting to that point not because of any idealistic motives, but simply be- cause we are all in trouble, and the industry is beginning to realize that- exhibitors can’t do well if distributors do badly, or vice versa.

Past answer to the problem of ; restoring interest lies in program (Continued on page 67)

tegrated production. And each has an entertainment value all its own.

I Maybe television is kicking our ' brains out. Maybe it will continue I to do so as long as there are any brains left in our business. I’m convinced, however, that it ain’t necessarily so; that proper use of television can help and improve : bur business; that the development I of .a technique can turn television I into an advertising medium com- ! parable in value to newspapers,

I magazines, radio — and even trade- papers.

This I have learned in the year il950.

When January hits the scene There comes a line on stationery green. From the editor of what is known to be The spice of life— Variety.

His letter is a sort of quiz Anent my views about the biz.

How can the movies get new patrons? Attract the ministers and matrons^

Is television more a menace

Than bingo, lotto, bridge and tennis?

Pictures are good, there’s no denying,

But tell about Installment buying. Divorcement— will it be a blow?

What about frozen foreign dough?

He wants my views and my predictions To add to all the other fictions ViMiich come to him from one and aill Who gaze into a crystal ball.

And then come up in verbiage pompous To make you feel they’re all non compos. But worse— I go along with them!

What don’t! do for M-G-M!

Here, where . the well knoWn lion roars Things are as bright a.s all outdoors Exhibitors are satisfied '

With hits like “Father Of the Bride.'* “Three Little Words” was quite a show Also “La Duchesse de Idaho.”

Who doubts that “Annie Get YoUr Gun” Brought in a glimmering of sun Arid Sol this very minute shines On “Soi’^ — ^the King who has the Mines , w .. Of course I think I’d better not Refer to some that weren’t hot,

But still I think we’ll see the Suii Again in 1951.

For if the world is not in pieces You'll get a kick from our releases.

And take my word, though shy and docile. The ballyhoo will be colossal.

So friends, don’t be a doleful moumen J ust look around the brighter comer.

Old M-G-M remains unshaken Unless, of course, I’ve been mistaken.

Howard Dietz.

By HAROLD ROBBINS

We might as well admit it to the world as we have long since admitted it to ourselves. The “we,” of course, is used in an editorial sense meaning “me,” But some^ one once told me that when writ- ing a piece for Variety if you want to talk about jnurself you don’t say “me,” you say “we.” It’s supposed to be more modest. Since modesty is not one of my strong points but I am basically a con- formist, if you will substitute an 'hn” for a ‘Sv” whenever you come across the word “we”, at least we’ll both know who we’re talking about.

I was probably the world’s worst student. The only subject I didn’t flunk was lunch. My attendance

Gla’ 'dr, Or—?

As for the industry’s glamor wearing off, certainly Hollywood no longer has tile glamor it once had. But is there anything basic- ally wrong with such a state of affairs? Kow long could Holly- wood remaiq an ivory-tower of mystery and glamor? The world has gone through a. lot of hell in the last TO years and more, and it is hardly to be wondered at if Hollywood has t<iken second, third or . fourth place in the minds and conversations of most people. Hol- lywood is not in a world of its O wn and it simply cannot and should not continue, to be pictured in this Way. . Just plain glamor can’t carry the whole load, and I think We learned that truth some time 3go. .

But. Hollywood still has a power- ful lot of glamor and, interest, and always will. Hollywpod stars make new's, good or bad. Let a Crain or a Grable have a baby and it’s a photo break. The editors of papers are hep guys and they know the public still is tremendously inter- ested in everything Holly wood. Let’s have more babies and less scandals, maybe. ,

I wi*.

Hollywood.

Cplumbia is breaking into the ejele of circus pictures with "Cen- ter Ring,” a bigtop tale starring Mickey Rooney as a clown.

Rooney recently completed his first directing job on “My True Story,” but will confine his efforts to acting in “Ring.” Nat Perrin will produce.

GLORIA DE HAVEN

CuiTontly Costarring in RKO’.s “TWO .TICKETS TO BROADWAY” Costarring In Forthcoming 20tli Fox’s “FRIENDLY ISLAND” EXCLUSIVE DEGOA RECORDS Spring Theatre arid Nitery Tour of East and Midwest Motion Picuire lU presentatlvos— Famous Artists, Radio, TV and Personals • G.A.C.

I’ress Itclatiohs Bob Weiss

record at George Washington High School had more red marks than a booker’s ‘^nplayed” report has in Dallas. In the days I attended school (or rather in the days I didn’t) I used to spend my morn- jings in the balcony at the New York 1 Paramount Theatre. Things were so set that'after a while they prac- tically reserved a seat for me. I was very happy with this arrange- ment because I liked going to the movies better than going to school. Until one day a very sad thing happened.

They sat the truant officer in the seat next to me. I don’t know what warned me that something I was wrong, but the fact that this I guy was looking at me with a bale- jful glare told me that I had better get out of there fart, w'hich I start- ed to do.

It didn’t do much good. There was another one in the lobby and I was hauled off unceremoniously to the principal’s office at school* After a respectable wait of a few minutes, I was ushered into the Great Man’s office. He was wait- I ing there very quietly, his face stern, his eyes grim. He was read- ing a report lying on his desk.

. At last the principal looked .up at me and said, “Harold, you are a great disappointment to us,”

“Yessir,” I answered,

After allowing me a few minutes of frightened silence he resumed, “For the past two terms you have been marked absent a total Of 20 days, and have cut over 100 classes, mostly in the mornings. What do you do in this tiihe away from school?”

I replied, 'T go to the movies.”

These words seemed tp infuriate him. His face turned purple and he rose behind his desk and shout- ed at me, “GO TO THE MOVIES? Does_ that help you pass your Eng- lish in which you got a miserable 45%? Does that help you pass Math and Accounting in which your averages are correspondingly bad?”

I looked at him without answer- ing. ;

This seemed to infuriate, him even nriore. “Tell me,” he shouted, “is going to the Paramount more important than going to school? Are movies going to train you for life? Are movies going to support you and your faipily, when you baVe one?”

“I don’t know, sir,” I answered.

That was more than 20 years ago. I still don’t know. But after two novels and 10 years as budget analyst and! statistician for Univer- sal, I must confess that maybe he was right.

Wednesday, January 3, 1951

Forty- fifth J^A^IETY Anniversary

PICTURES 13

Concede That TV Can be Made a Valuable Selling Adjunct^Exhibitors Must Help Create New Faces— Views on Bidding, Drive-Ins,

J. R. Orainger •

nepublic Sales V*P, Deplores Exhibs^ Slowdown

On Showmanship

By J R. GRAINGER

(Distribution V.P., Republic Pictures)

In talking rentals and grosses, exhibitors seem always to have in mind the peak business that they were doing when business actually was abnormal. They hiave to rec- ognize the healthy condition of the busiiiess without

; reference to peak grosses in an ab- normal period. They should stop be- moaniiig and go to work to bring in new patrons by every form of show- manship at their disposal. This busi- ness of crying the bliies and ibfgetting even the basic principles of running a theatre is causing difficulty in many situations throughout the Country.

These instances may be isolated, but 1 have had reports of people losing the movie-goirLg habit because they actually don’t know what’s plajung at their local theatres. The simple busi- ness of sending out programs weekly, has been discontinued by some theatres as a so-called econ- omy. If patrons have to call to get information on filmSj there is the hazard that if they get a btisy signal they just decide td stay home: that night, A lot of theatres are ac- tually run down. Their shoddy exteriors and equally run- down interiors are certainly no invitation to an evening’s entertainment. Circuses aren’t going out of business. They know the value of lights and ballyhoo, aiid so should every Showman. This business of being discouraged is bad business when it reflects itself in theatres Which by their looks alone deter public interest in their wares.

Another, and possibly the greatest, problem confronting the producer and distributor today is that of “new faces” The success of this business— as a matter of fact, its foun- dation—is the building of new personalities. It’s not so many years ago that Republic was using John Wayne in a series of Three Musketeers westerns and having a teriffic struggle in breaking down exhibitor resistance throughout the country. Today Wayne is an outstanding star, with possibly more audience draw than any male star in the business. Unless this business develops new stars; it In- evitably must suffer. People in the pictui'e business grow older just as everybody else does. I don’t intend to mini: mize the boxoffice value of those stars who have been built up during past years, but we must have new faces, just as we niust build up new audiences among the younger people.. To accomplish this, studios must have exhibitor cooperation. They cannot do it alone. It is common knowledge that exhibitors have always had the best end . of the motion picture business and that is not an econom- ically sound premise. There must be an equal share of the tariff and the returns if this business is to stay healthy. .

j Contagious Propaganda . ■ |

I know of no definite apathy toward motion pictures. There is a lot of loose talk in this business and a lot of un- favorable publicity that never should be permitted in news- papers, and people are beginning to believe what they read. With hundreds of millions of dollars invested in this business— in studios, pictures and theatres— nothing is going to happen to destroy the motion picture business. It’s a case of hard work, selling movies to reclaim audp enccs which have been influenced by what I would call propaganda, to build new audiences by active promotion, to sell new personalities, to attract wider audiences— in shortv we must sell pictures and never stop selling them! Wo. at Republic, are doing our best to stimulate public interest in our pictures nationally, and to show by active participation in premiere promotion what can be accom- plished locally if exhibitors will adapt the exploitation slants which have contributed to these premiere successes. . I think that showmanship is the answer, and that what is called “public apathy” may possibly be diagnosed as “show- nianship apathy.”

I want to talk a little, too, about the small amount of aclverUsing that exhibitors are doing. Some time back producers started to “cooperate” on advertising, where- upon quite a few exhibitors started to cut down on; their budgets, expecting the distributor to carry the load. If distributors stopped “cooperating” on advertising budgets, liioalrcS woulld have to go to : work to protect their in- vcsimcnt in pictures. It‘s unfortunate, but true, that many c.xhibilors seemingly expect the producer hot only to make piclui'cs. distribute them, but also do the major pr com- l)lole job of advertising and exploiting them. .

1 talk to a lot of exhibitors every day, and theatres are showing a profit. Of cburso, it is hot the profit which was made during, the abnormal peak 1 mentiohed before, but it is substantial. Pessimism is catching, and it is dangerous for this type of thinking to infect the industry. Certainly we have problemSi but We knovy what to do about them, and it is the job of everybody connected with this busi- ness to stop moaning and to get to work, so that we can all enjoy the benefits of a busine.ss that I feel is ak solid as any enterprise in the world.

People vyaht good movies. We have to make them and we haye to let the public know' that we have them. There i.s no sense in pitting one factor of the business, against the other or attempting to divide rGspOnsibility. A. shirt manU- facluref- franchises his merchandise only to those stores be knows will display and promote it properly. We’Ve always taken it . for granted that wdien an exhibitor buys a pietuyo he’ll get behind it, but unfortunately that is not true today in many instances. We’ve all got to work lo- gelher to protect the interest of producer, distributor and exhibitor alike. Now is a good time to start!

Never Can Tell

Since Pix More Than Ever Today Compete With Home Enterlainmenlj Real Selling Is a Must

By WILLIAM J; HEINEMAN

f Eagle Lion Classics Sales V, PJ

They tell me that in 1905 you couldn’t get many people to invest their money in the movie business, it being con- sidered about as f eliable as the mntterings of an Indian rainmakef. Well, here w'e are 45 years later, and we’re still trying to prove they’re wrong. In 1950 \ve have with us a new set of skeptics With the same old moose call and a shiny nevy crystal ball.

They figure they’ve got us this time for sUi:e. That any champ 50 years old is bound to get creaky in the joints, and instad of slugging in the style that put him at the top of his class, he has to start bobbing and Weaving like a cutie. Our friends, tile skeptics, reason that the reflexes are dulled to the pOilnt \vhere everything now is mechanical and that we just can’t adjust ourselves.

In my opinion this new crystal ball-gazer is just as . wrong as his father was but wdth this exception: the motion picture industry must recognize the fact that vast

new problems confront us today which are far more men- acing than those which existed 50 years ago, and. thait unless w'e meet that challenge by harnessing ail our talent in one concentrated effort w'e are going to have a very, rough time of it indeed in dealing with the present situa- tion, I think we heed to recognize the principle that the theatre, more than ever, competes with the home. That we therefore need to merchandise oiir product, from screenplay to exhibition, with such entertainment values as will induce people to go to the theatre for their leisure time enjoyment, More specifically, here is what Eagle Lion Glassies did with two recent pictures; “Destination Moon’ and “Prehistoric Women.”

The trade knows by now that “Destination Moon” is one of the boxoffice champs of 1950. Yet, here is a film that despite no names of marquee value was exploited to such a high degree that, it incited the imagination oJ young people and old alike. Every conceivable angle in the film— the Unsual theme, the production yalues, the scientific approach, the entertainment inherent in probing the uh known, was trumpeted far and wide to a receptive film going public.

We applied the same merchandising formula to “Pre- historic Women,” a picture of ideas, of no names that can be exploited, and wdthout even the production values of “Destination Moon.” Again, it w'as a question of analyzing a picture properly, of exploiting every conceivable angle in the film and, with the aid of exhibitors, of reaching into the homes arid getting the people to respond to ideas.

Abe Montague

Fi-ancois Marie Arouet de Voltaire once said oi a clisllnguished neighbor that he. was a wonderful man, a fine scholar and a delightful gentleman. “Very kind ef you,” said a li.stener, “all the more so because he ^^ik's you are a filthy old scoundrel.” “Ah well,” said Vollaire with a gi'in, “perhaps we are both mistaken.”

John Kieraii.

What’s Wrong With a Business That Sells 57,000, 000 Iteins (Tickets) Every Week at 47.1c

Average Price?

By ABE MONTAGUE

(Sales V. P., Columbia Pictures)

A friend of mine is in a business which sells 57,000,000 items eaeh week at an average price per item of 47.1c. It’s a big business, a real big one, solid, substantial, rich, With a volume like that, do you think he’s worrying? , You

can bet your life he is. You see, it’s the motion picture business.

Granted that, beyond the question of a doubt, the boxoffiee is not nearly what it was in the peak years of 1941- 1947, still we know that 5*7,000,000 tickets are being sold each week. We know that people are turning out in great numbers for certain pictures. We know there has never been any form of entertainment in the history of this beahup world to equal the Airierican motion picture. And, as an individual, I know and believe that pur industry still has tremendous po- tentialities for .growth, that its future is as we w^ho are in it choose to make it.

Then what is the trouble? If I had to make a guess- arid 1 wdsh I didn’t have to— I’d say that too many of us have growm fat and lazy. Our past success is more of a burden to us than a help. Count up the new ideas of the past 20 years. They are few indeed— and 20 years is a long

We built a business for the masses/ Atniospheric the- atres, comfortable seats, good projection, everything to' create an escape for the little Joe and his Mrs. Then we stopped.

Our advertising technique and media have not beeri altered materially from the early days of the business. The theatre owner sits back, waiting for the distributor to handle the campaign. The distributor relies on the theatre for the same job. Even as an industry we are unable to present a united front; we are constantly torn by internal strife and disservgibn. / And now^up comes a little thing called television.

This noble competitor— arid 1 use the word “noble” ad- visedly—is without doubt attracting a considerable portion of our audience. In some of the important televi-sion areas, it is actually pushing our publicity and advertising out of the riCwspapers. And we mumble and sulk and complain, but we don’t come back swinging the way We used to. . ;

How should we do it? There are lots of ways. We must encourage youth in our pictures. On this score, the burden rests with the theatre operators too. They have hesitated to give hew laces the proper opportunity. As a consequence, the studios have hesitated to try new players in their more important pictures.

We need youth, too, in the ^idiriinistrative branches of our industry^ This is a young, creative busine.s.s we’re in, and wo need all the young, creative minds we can get into distribution, production and exhibition. I am not recommending the retirement of the industry fathers.

Bui Tm all for the riurturirig and pushing of the next generation.

We must welcbrrie and not stifle new developments like the DTive-In Theatre. I belieye, as many do, that Drive- Ins bring a new motion picture audience— a group that doesn’t like to dress up, that wants to take the . kids with them, that can’t afford a baby-sitter. And where it enters into competition with Ahe so-called “conventional” the- atre, Mr, Conventional Exhibitor had better haul his tail out of his easy chair and get back to work. . And that’s a. thought that disturbs me hot orie little bit.

Less talk about what television is doirig and tnorie actioti to offset it will help too. I believe television can he har- . nessed, I know, from Columbia’s experience, that it is a great advertisiiig medium, that it can be made, to sell tickets. We have proven that incpntrovertibly. And we intend to take full advantage of it.

A1 Schwalberg

Par Dislrib Chief Sees New Peaks for Pix; Giles Exliibs’ Awareness of ^New Faces,’ If Good

By A. W v SCH^ALBERG

(Distribution V.P., Paramount .Pictures)

Because film rental so obviously depends on what a picture grosses at the boxoffice, each theatre representsi a different problem. Hence film rentals cannot be dis- cussed except on an “individual” basis. On the proposition

Of whether we have, reached the limit on grosses, my answer to that is an emphatic “no.” There will always be new records. As an example, let me cite recent history at the Radio City Music Hall. A few seasons back “Em- peror Waltz” broke all existing Music Hall records. We were happy with this, of course. Then “Connecticut Yankee” came along, and broke the “Waltz” record. Then, just a few weeks ago, “Sunset Boulevard” broke through and created a brand new rec^ ord to be shot at. Who can tell what the future “SunseF’ will gross? For his reason, I must refuse to say that we have reached a Imit in grosses.

The various elements concerned in the matter of “star ,'alue” have always posed a problem. T don’t think you can truly say that every exhibitor is uncoriditionally op- posed to every picture which has new faces. Take as an example a picture called “Smoke,” a fine grosser. I doubt that very many remember the naihes of the human actors in that film, but everyone knows it was about a horse. In other words, here was a successful fim of which it might be said that it had no faces.'

I would say, therefore, that exhibitors do realize cast values and potentials, and are fully prepared to go along with hew faces, if the film in question has other recogniz- able elements of quality which can be capitalized on. Naturally, they can’t be expected to sell a picture on a new face and nothing more. But if they have a fighting chance-^they’ll go to work.

I reject the theory that the public is apathetic to films as a whole. The kind of business done by such pictures as “Father of the Bride,” “King Solomon’s Mines” and “Sun- set Boulevard” proves this contention. People simply don’t atterid theatres in such numbers when they’re apathetic. To be sure, there are periods when over-all business is off. I have been in this industry for 26 years, and there has never been a time when business has not been subject to peaks and gullies. In all those cases, it has come out with flying colors. I have every confidence that it will continue to do so.

I believe that the problems inherent to drive-in theatres will be solved in the normal process of evolution. When these theatres first appeared, they were unique, and their problems were unique. But in the course of time, the theatres themselves and . their methods of operation have become more stabilized, and so indeed havt their prob- lems. In another year or two, drive-ins will have become commonplace, and their problertis will be largely the prob- lems of the conventional theatres.

If Oilier Inclustries Can Utilize TV to Sell Mdse., Why Can’t the Picture Business Ditto?

By A. W. SMITH, JR.

( Sales y. P., 2()th-F ox Films)

• There is too much of a downbeat note permeating our industry today. As does everybody iri the picture business,

I recognize the tremendous pressures under which we are bperatirig. It isn’t only television that has taken its toll

of our business but economic condi- tions generally. .Higher taxes, in*/ creased living costs; scare buying .of heavy goods ha ve a U hit our boxoffice.

These are all factors that, of course, we mii.st consider seriously. We cari’t bijlncl ourselves but L do believe that there are certain ways in which we can effectively offset the present de- pression in our boxoffice.

First, as regards tele Visirin, we rriust join forces : with this new mediurri and use if just as producers of other commodities are using it to sell mer- chandise.

To this day, despite all of the improvements that have •been made in the live programs on televisiori, advertisers who have tried live commercials are now turning more and more to commercials on film. What does this mean? It mOans that the public still recognizes the motion picture, whether it is shown on. the television screen at hoirie or oQ , the screen of their local theatre, as the best there is in entertainment.

Our job is to remind the great television audience con-, stantly that their favorite, theatre is showing fine new mo- tion pictures, and to corivince them that the entertairi- riient they will enjoy by going down the street is far sii- (Continued on page 49)

Andy Smith

PICTURES

Fo,rty~ fifth P^tHETY Anniversary

WetlneBclay, January 3, 1951

The Near-Beer Scandal

A Volsteadian Reminiscence

Broun, Judge Corrigan and Congressinaii

LaGuardia

several dozen cartons of beer to the sweltering cast and chorus.

Broun and LaGuardia agreed at once. LaGuardia, in fact, had just ! demonstrated in Congress how to

About Heywood '

and had been in headlines for days. He, as we well know, was as in- corruptible as Corrigan and Broun, but the three men had one hate

By MILTON M. RAISON

Hollywood, jand turn the profits over to his One very hot night in July back employment agency. The idea took In the Prohibition Era— 1931, to! hold; he began to interest

Say,

By RICHARD THORPE

Toughest thing

Hollywood, of all to write

in common, like mo.st New Yorkers, really well, some of my writer pals !

including Westbrook Pegler. They thought the Prohibition Act was an aniathema.

The five of us: Broun, Judge Corrigan, Congressman LaGuardia, Milton Lazarus, p.a, of the show,

be exact-— three gentlemen, their ; P<?ople coats off, their collars ooen, were sweating in the darkened auditori-

it and such theatre vet- and I, all laden down with cartons ; Hemingway.’'

have assured me, is good dialog.

“You’ve got to make it sound like people really talk,” they say. “Not like a Writer thinks or talks, but like people talk. You know — stuff with guts in it, like

_ erans as E. A. MacAuley, then, itreasurer of the 46th street Thea- tre, and now house manager; Rich- ard Berger, then MacAuley ’s assis*

; tant; Milton Lazarus, who was to act as press agent; Joey Keith of

um of the George M. Cohan Thea- tre on Times Square.

Not a wisp of air Was stirring

and these men were in silent sym-:Leblang’s Agency (who arranged pathy with the ca.st arid chorus of , for the George M. Cohan Theatre) ; a musical show then in rehearsal. , Charles LeMaire, who oiTered to Someone, probably I, suggested ^handle the costuming; Nunnally that we ought to adjourn across Johnson, who agreed to write the street to a speakeasy known skits; Max and Nathaniel Lief, who

as the Green Door and have a quick beer. The perspiring : on- lookers agreed with alacrity and that is how Heywood Broun, Judge Joseph E. Corrigan and Congress- man Fiorello LaGuardia almost got involved in a political scandal that could have had severe political rep- ercussions.

Among his other activities, which consisted of writing a daily column .for the N. Y. World-Tele- gram, a monthly book review for one magazine and dramatic criti- cism for another, collaborating W'ith Quentin Reynolds on a novel (which never got written), manag- ing a private employment agency for indigent friends and strangers, Heywood Broun was not only run-; ning for Congress on the Socialist i ticket, but producing a musical re- vue called “Shoot The Works.” There obviously were not enough hours in the day for him, for he i had to read new books, attend ' first nights, write reams of copy, , have meetings with his political

subsequently wrote the lyrics; Michael Cleary, Philip Cha.rig and Jay Gorney, who. wrote the music,, and many others including Howard Dietz and Arthur Schwartz gathered in Brouri’s apartment for a series of conferences, Which often ended up at Billingsley’s Stork Club, then next door to BrpuiTs apartment house.

Broun threw himself into this new project with great enthusiasm. As his associate producer, we found a pleasant task for ourselves: hunt- ing for talent. This hunt took us through all the night clulj)s and cabarets in New York, to all the shows and to bars where one could catch an unknown, but talented en- tertainer.

We also picked up a backer or two, but most of the money : for production purposes was furnislied by Broun himself, which kept him broker than ever. But he was hav- ing a Wonderful time;

That the show took shape and

of beer, left the Green Door and started across the street. 1

; Broun let Judge Corrigan and LaGuardia go on aliead and fell . back to whisper urgently into' Lazarus’ ear, “Get a .cop— and have him make a pinch. We’ll get a lot ; of free publicity for the show.”

I And indeed we would have.. Broun didn’t count. But Corrigan . and LaGuardia would have found ; an embarrassment of headlines. ’ For one tense moment, Lazarus didn't know whether or not Broun; meant it. Then, he saw the • twinkle in hi.S eye, and relaxed.

Broun caught up with the others, and Lazarus and I watched them,, enter the stage door: Broun, lum-! bering and shaggy as usual, Corri- : gan spare and thin, LaCjuardia ' short and chubby. The door closed- behind them and they were safe.

Now. the three of them are gone,, and it’ll be a long time before New York sees their like again. Which ' is too bad, because we men like that right now.

Well, the influence of “the way people talk” on motion picture di- alog, and the influence of motion picture dialog on “the way people talk,” is a give-and-take. And here I am in the middle, looking to one side and then the other, like a ten- nis match spectator in a newsreel.

It is a wise bit of dialog indeed that knows its own father.

Recently I stopped by to pick up a hon-professionar friend who was going with me to a night baseball garne. The friend’s; small boy, it developed, had mea.sles. When I arrived the doctor was in the youngster’s room.

The whole household was Inishcd, just like in a death scene. We con- versed in low tones. . Presently the doctor emerged. He could have been sent from Central Casting. Fatherly, serious, the perfect type. The mother stood with drawn face, waiting for the verdict: Just like

jamas, came the dawn, to pick up any morning paper.

I suddenly heard a car approach* ing and scrambled back of a hedge. It tuimed out to be a gai’bage col- lection truck.

.. When they stopped in front of my .place a man standing on a little early platforni at the back of the truck ; hopped, off with quite a gesture and picked up the gai’bage can. The di’iver swUng down from li is seat arid lifted the hbod .of the car. He ■ studied the steaming motor with a ' sei'ious expi'ession. Then he latched the hood down again.

^She’s Aleakin'

can use ; Joan Crawford.

^Crisis Past*

advisers and the staff that ran his subsequently was a _ hit is another

story. It ran for 13 -weeks, and

private unemployment insurance organization, make speeches in the district where he was running, and finally, help Johnny Boyle and Ted Hammerstein rehearse “Shoot The Works,” in. which he was not only going to appear as master-of- ceremonies, but act in some of the

■ would have run indefinitely, but Broun had a nervous collapse, due to overwork and strain, and we had ' to close the show abruptly one . Saturday night,

' But going back to the hot night in July, Milton Lazarus and I got

Kosiner Heads Special Col. Dept, on Foreign Fix

Harry Kosiner, formerly east- ern representative for Edward Small, last week joined Columbia Pictures to take charge of a spe- cial department which the com- pany set up about a year ago to handle foreign films. New di- vision will be expanded and re- organized to include distribution of top independent domestic prod- uct as well as foreign roadshow and art theatre pictures.

With Small for the last seven years, Kosiner over a stretch of more than 27 years had been as- sociated in various capacities with 20th-Fox, United Artists sales

skits with John. Hazzard, Julius Tan- 1 ^ huge kick out of watching the nen, Edward McNamara, George jtln’ee political fnends: Broun,

and Julie Murphy, Bill O’Neill, ; Corngan and LaGuardia, m ^lept., RKO and De Luxe Labora

Lee Brody and Imogene Coca. Vthe Green Door, drinking beer with Meanwhile, Morris Good-

He also managed to I'egularly at- jhigh relish, tend his clubs, the Harvard, Calu- ! It’ was Judge Corrigan, incorrupt- met and Racquet & Tennis, where i ible Upholder of The Law, and

the members regarded Broun and : nemesis of racketeers, who sug-

gested that we ought to bring back

his political ambition with ill-con- ' cealed horror. When he had noth-.' ing else to do, he devoted himself to painting.

This night, to show that he was impartial, as well as broadminded, he invited Judge Corrigan, a Dem- ocrat, and LaGuardia, a Republi- can, to attend a rehearsal with him and listened to their criticism with consideration.

“Shoot The Works” had its in- ception in Broun’s well-known so- cial consciousness. Though the De- pressiori was on in full force, Broun earned about $50,000 a year, a fact w'hich made him uneasy. His employment agency, called “Save-A-Job-Till-June,” was started with his own funds and his apart- ment was the office whei’e jobs were actually found for many people W'ho applied: everyone from janitors to newspapermen. It w'as Broun’s fond, but mistaken hope that the depression wmild only last until June, 1930. When it persisted W'ith alarming tenacity, his funds began to get very low. Broun de- cided that he could interest enough theatrical friends who were in sympathy W'itli, his project, and that a benefit w'as in order to raise money.

That’s ..when I got into the pic- ture. I W'as then press agent for the Connolly & Sw'apsti’om musical, *‘Sons O’ Guns,” which was playing at the Imperial Theatre. Bobby Connolly and Arthur Swanstrom were anxious to help and turned over the . Imperial to Broun for his benefit. It W’^s a .whopping success and earned about $7,000. Which was promptly handed over to the employment agency.

Broun, who had been acting as emcee at various theatrical affairs, really got his teeth into show business at this benefit, where he Introduced the acts. It didn’t take a keen observer to see that Broun had been severely bitten by the itage bug.

He saw no rea'fton w'hy he couldn’t produce a musical I'evue

man, who formerly supervised Co- lumbia’s foreign film activities in the U. S., has been shifted to other chores with Columbia Interna- tional Corp.

The doctor hauled out a large watch, looked at it. and snapped the cover closed. Where did that bit of doctor business ever come from? Then he said: “The crisis is past!”

The crisis is past,' so help me. Measles!

Most people sort of subcon- sciously fit themselves into the roles in which either fate or their own imaginations cast them.

Ever get stopped by one of those “so you won’t talk, eh?” cops? They are among the lop outstand- ing dialog writers. They give them- selves all the good lines, too.

There is hardly any answer for that “Where do you think you’re going, to a fire?” line of dialog.

It is human nature to endow one’s every-day routine experi- ences with dramatic impact by shooting those dialog punchlines right out of the script.

Like a little exchange I hap- pened to witne.ss a few weeks ago when I ventui’ed out in my pa-

I “She’s aleakin’,” he called to the character at the back end of the ■ truck.

That worthy replied: “Are you going to put ’er on. time?” j The man up fi'ont inspected his watch.

! “Seventeen ininutes behind schedule,” he said, “but don’t wor- ry—-we’ll put -er on time. Wish we had old No. 47 though. She’s over in the Beverly division now.”

I “Yep,” the other agreed, “she could really highball!”

I Whei-eupon . the man up front took a final puff on his cigaret, . dropped it and stepped on it— with an air. The rear guy iriourtted his platform and waved his arm like a brakeman signaling the engineer,

; The front man tilted his cap at an agle and mounted to the cabin with his oi'ders in his hand, ju.st like Casey Jones.

I “Let’s highball!” he yelled, as he grabbed the thinttle.

I And they w‘ere off in the daw'm Last I saw of her she was build* ing up steam to make that curve onto Wilshire Boulevard. And . that’s the toughest grade this side of the Rockies. She w as highballin’!

Jerry WaM

WALD-KRASNA PRODUCTIONS Norman Km„a

Produoilig for RKO Radio

Hollywood history, Howard Hughes brought Jerry Wald

:\rai*ki]ig the biggest iadopeiulont production df'al in and Nornian ICru.sna to RKO. Radio In August, IDoO.

Their eon tract calls for a total of GO top-budget

^ years. NN 1th 15 .scripts already completed, iJol looms as a busy New' Year for Wald-Krasna and for

features, Involving $50,000,000, to be completed durlnc the .some of the '

of RKO.

indu.strj s biggest names already signed,

aiY INVESTING’S NET OF }590, 700 LAST YEAR

City Investing Co., N. Y.. showed l a net profit of $590,700 on the op- j eration of its four film and three I legit houses, its report for the I'year ending la.st April 30 discloses. Its income from boxoffice receipts, 'rental of theatres, etc., was $5,087, - . 418, of which $2,722,854 was paid I out in film I'cntals and shares to I attractions.

I Operating expenses out of the $2,364,564 remaining w'cre $2,02 !»• 140. Out of that, however, $247,- 276 was charged to the attractions. Principal theatre c.vpenscs were $1,071,541 ill salaries and $564,230 in advertising. The $590,700 net does not take into account expenses of real estate administration, real estate taxes and depreciation.

Filmeries owned by Cl are the Astor, Victoria and Bijou on Broad- way, and Keith’s, Cincinnati. Lc- gilers are Fulton, 46th Street and Morosco in N. Y. Astor Theatre Gorp., a wholly-owned subsid w’hicli controls the theatre properties, paid no dividend to the parent company, put the latter had a $65,821 equity in Aster’s undistributed profit.s. Cincinnati Playhouses, Inc., which held the Keith’s in Cincy, paid a $45,000 divvy to the parent, al- though the latter had a $10,508 equity in the subsid’s losses.

^ Astor is the parent of City En- tp’tainment Go., which opei’ales bouses, under management of Maurice Maurer, and City Play- house.s, which operates the logit properties under, management of Louis Lotito.

City Investing Sells Cincy Keith ’a . . Cincinnati.

Cincinnati Playhouses, sub.sidiary City Investing Co., N. Y„ has sold the Keith Building here to an eastern syndicate, not named, for a. reported $2,000,000. CIC bought the, J 2-story building, W'hich houses the 1.542-seat Keith’s thea- tre, from c.state of Ben lleidings- feld in 1946. There are four ground-floor stores and 60,000 square feet of office space.

Transfer of! ownership does not affect tenancy of theatre by Mid- States enterprises, headed by Rob- ert Libsori and Mauilce White, which holds lease with about nine yeai’S to 1‘un. City Inveisting oper- ated Keith’s for a couple of years before leasing house to Mid-States.