Boxoffice (Apr-Jun 1937)

Academy Council Seeks Framing Standard To help improve the quality of pictures in the theatre by eliminating the possibilities for cutting off heads and feet on the screen, a committee has been formed by the Academy Research Council to set up standard methods for framing in photography and projection. Under the chairmanship of Grover Laube, the committee includes John Aalberg, Sydney Burton, Frank Cahill, Wallace Castle, Merle Chamberlain, Bryon Haskin, Ray June, Arthur Miller, Virgil Miller, Thomas Moulton, Emil Oster, Harry Rubin, William Rudolph, Homer G. Tasker and Gordon S. Mitchell. First meeting was held March 31. RKO TO DISTRIBUTE BRITISH "VICTORIA" Marking the first time in five years that RKO Radio has distributed a British-made film in the United States, Ned E. Depinet, vice-president in charge of distribution, has closed a deal with Herbert Wilcox, British producer, for the world-wide release of “Victoria the Great,” which Wilcox will put into production next month. Production of the picture will mark the first time the colorful life of Great Britain’s sovereign has ever been brought to the screen, as only recently the British government lifted its ban on motion picture stories dealing with Queen Victoria. Anna Neagle will have the title role, with Anton Walbrook, H. B. Warner and Nigel Bruce featured. Miles Malleson will prepare the script. The film is scheduled for delivery in July. VENTRILOQUISTS GET THEIR SCREEN DAY After combing every available source of Thespian talent in their indefatigable hunt for new screen faces, movie scouts have finally hit upon those old vaudeville standbys, the ventriloquists. These original “double talk” artists, who have been the butts of variety shows for years, are at last coming into their own on the screen, as evidenced by the fact that one of the outstanding performances in Republic’s “The Hit Parade” was given by Max Terhune and his inanimate companion, and by the announcement that Edgar Bergen, one of the most famous ventriloquists on the American stage, will make his screen debut in “The Goldwyn Pollies.” Eddie Welch Pacted Paramount has given Eddie Welch a new straight two-year writing contract, continuing his four-year association with the studio. Welch is currently collaborating on “The Tightwad,” an Edward Everett Horton feature. -S Industrij Can Settle Own Problems, Declares Haijs Busy 7201V m the filming of Emanuel Coheii's ‘‘Midnight Madoinia" is Mady Correll whose recent arrival in Hollytvood from the legitimate stage is here so accentuated by sunshine and floioers. Talent Hunt Leads to Public Figures The film industry’s drive to add new faces to its talent roster, employing such tactics as the scouting of little theatres, collegiate dramatic societies and other spots where Thespians may lurk, has once again resorted to the expedient of contacting figures in the public eye who may possibly be interested in a film career. Negotiating With Purvis On the heels of Sol Lesser’s booking of Lou Gehrig, famed first baseman for the New York Yankees, who will make his screen debut when he has terminated his current baseball season, has come the announcement that Samuel Goldwyn has revived negotiations with Melvin Purvis, exchief of the G-men, to don the greasepaint and emote in Goldwyn’s forthcoming production of “Dead End,” from the Broadway stage play. Goldwyn wants Purvis to lend an air of reality to the capture of a gangster in the film, which sequence closely duplicates the capture and killing of John Dillinger, for which Purvis was responsible. Director of “Dead End,” William Wyler, disclosed that Purvis was approached while visiting in Los Angeles, and expressed a willingness to open negotiations. New York — “There is enough elasticity in the trade structure of the industry and enough men of good will within it — exhibitors. distributors and producers — to solve through self-regulation all its trade prob-* lems that exist or may arise from time to time.” Will H. Hays, president of the Motion Pic Lure Producers and Distributors of America, made that assertion in his annual report submitted to the 15th annual meeting of the association here on Friday. The meeting was attended by representatives of the 28 companies which are members of the MPPDA and was largely routine, including a discussion of Hays’ report, the fixing of the association’s budget for the ensuing year and plans for the future. Need Alw^ays Present Hays’ report covered a wide range of subjects and activities pertinent to the industry in 1936-37 and the future. On the subject of trade relations. Hays continued; “There never will be a time in this or any other industry when individual grievances will not exist and need to be adjusted and when there will not be groups which will demand legislation instead of cooperation. But the overwhelming number of responsible exhibitors, distributors and producers fully understands that any act which would destroy initiative and enterprise in the industry must endanger the investment in all theatre properties, make it impossible to serve large portions of the public with outstanding entertainment and hurt the small theatre now protected by the assurance of a constant and unfailing picture service.” A Story of Progress The showing made by film theatres during the past year, the present state of the "art” and the universal popularity of screen entertainment not only tell the story of the progress of the “art” but the evolution of the industry’s business structure over a period of 15 years. Hays pointed out. “The pi'ogress of motion pictures during the period under review should bring satisfaction but not equanimity,” he went on. “As always, our problems are before, not behind us.” Praise for Code Touching on the production code. Hays said: "During the past year, the fact has been further emphasized that great variety of screen entertainment may be developed and financially successful pictures produced without violating the natural and proper regulations of the industry’s Motion Picture Production Code. It has been proved that within the boundaries of good taste and good morals there is illimitable opportunity, creatively, artistically and dramatically, for the screen to rise to the highest levels. "The pictures now projected from our screen and the appraisals of independent public groups testify to the success of selfregulation.” BOXOFFICE :: April 3, 1937. 15