Boxoffice (Apr-Jun 1939)

Calls S. A. Market "Our Salvation" New York — Extolling the South American market, Joseph H. Seidelman, Universal’s vice-president in charge of foreign sales, is back from a two-month tour of the continent with the observation that “it is our only salvation.” Completing a goodwill tour on the Swedish-American liner Gripsholm, Seidelman says the Spanish-speaking people are tiring of superimposed titles. His solution is having Hollywood productions pay more attention to subjects which are close to those people. Argentine production, according to Seidelman, is an established competitive factor. Last year, he says, 40 to 50 pictures were produced and received a big play in the subsequent spots, cutting into the Sunday playing time of American product. However, Seidelman points out, the Argentine productions do not go into the first-run situations and there is where the American firms derive approximately 75 per cent of their revenue. He is optimistic about Latin-American sales and estimates his company is 25 per cent ahead of last year for the first quarter. Kinemaiograph Year Book Covering Trade Ready New York — Complete and authoritative information on all branches of the industry is contained in the new 722-page Kinematograph Year Book for 1939. This is, of course, a text book concerning the United Kingdom, Irish Free State and colonial possessions. Copies are now here. A classified list covers circuits and theatres, totaling about 5,000, in the British Isles. Personnel of the leading distributors, companies, as well as studios, is also included. Important legal decisions, complete biographical particulars of personalities in the trade, studios and laboratories are part of the year book. There is a review of technical and equipment developments in theatres and studios, with complete details of all sound systems, prices and sales terms. Also a digest of all acts concerned with the industry, highlighted with the Cinematograph Films Act of 1938 in full. Of special interest is a review of the British industry’s problems during the past year, discussed in anticipation of the difficulties about to be faced.-— L. W. The Lack of Ace Foreigns Forces Filmarte Dark New York — Lack of first-rate foreign product has caused the Filmarte to close. Jean Lenauer, whose theatre has housed “Grand Illusion” for 26 weeks, asserts he’ll stay closed throughout the summer unless he can play top imported pictures. Shuttering of the Filmarte marks the fifth such darkening here recently. The other houses are the Squire, Belmont, Continental and Cinema 49. Italy Doing the Flirting New York — American companies are satisfied to stay out of Italy under the present restrictions imposed on imports, according to a spokesman for one of the major distributors. "We have made no overtures to Italy and the plans being discussed for a revision of the restrictions have been at the suggestion of interests abroad," the spokesman asserts. Hicks Sees Little Chance Of Easing Restrictions New York — Little chance of easing Italian restrictions against the American companies is seen by John W. Hicks jr., Paramount foreign head, who returned on the Normandie, after spending three months in Europe. Interviewed aboard the ship on the way up from quarantine, Hicks made the following observation: “So far there has been nothing to believe that the Italian government is changing its attitude.” Paramount’s general foreign representative Fred W. Lange is now in Rome completing liquidation of the Rome office as well as observing the general situation. Aside from that, Hicks assures, there is no special significance to Lange’s visit. In a discussion of the expansion of Paramount’s British production, Hicks was asked if similar activity is contemplated in the further construction of theatres in England. He smilingly parried the question with “we always have plans.” According to Hicks, Paramount is continuing additional production alliances. Deals have been completed for two to be made in France for the French market and one Swedish picture to be made in Denmark for the Scandinavian countries. He admits it is entirely possible that similiar arrangements will be concluded in the Argentine for production of Spanish language pictures. Shifting to Spain, Hicks believes it is too early to determine General Franco’s attitude to American companies but he says the American companies in Paris are aware of the fascist complexion of the new government. Paramount has Moses Israel, Portugal A Student He , and No More New York — Presumably here in an effort to straighten out product difficulties in Australia with distributors and Greater Union Theatres, Norman B. Rydge, financial head of the independent circuit, upon his arrival from the coast with Capt. Harold Auten, American representative for the circuit, said, ”1 am a student from Australia here to see how things are done by you Americans." He was surprised to see reporters at the station, but he was informed by the news sleuths, "That's the way we do things here." manager, in Spain surveying conditions so the company can get an early start in the resumption of business operations there. Reporting on the foreign gross, Hicks declares it is running ahead of last year with business in England regarded as excellent. There is no truth to the report, Hicks says, that Adolph Zukor will resign from the company. Zukor returns on the Queen Mary, April 15, and will make a good-will tour to Australia. Hicks is not sure whether he will go along. By April, 1940, the British company expects to have between six or seven pictures produced in addition to three Charles Laughton vehicles. The latter group are quota productions. The British studios have finished “Stolen Life” and “Silent Battle” and start next on “French Without Tears,” to be followed by “This Man Is News,” “This Man in Paris” and “Live and Let Live.” Claiming exclusive screen rights to all of George Bernard Shaw’s plays, Gabriel Pascal, producer of “Pygmalion,” stated “One hour before I left, Shaw told me I can have the monopoly on all his plays for screen productions. I believe the plays are the greatest properties entrusted to any one man.” He goes on to the coast in a few days with Lawrence Irving, his art director, who will work on the shooting script of “Doctor’s Dilemma” with Howard Estabrook. Production starts in June and Pascal asserts Greer Garson, who has just finished “Goodbye, Mr. Chips,” will have the leading feminine role. From the Shaw collection, Pascal says he has selected eight for future production. Other plans include the biographical film of Amelia Earliart, tentatively titled “Lady Lindy,” which will go before the cameras this summer. Producer Herbert Wilcox also was on board expressing an avowed intention of getting Cary Grant as male lead to Anna Neagle in the first of the four pictures he will make under his joint production arrangement with RKO. He remains here for a few days for talks with George Schaefer and then returns to England. Wilcox expects to come back to the United States the end of April with Miss Neagle and his own production unit to start work on “Marie Lloyd,” a story of an English music hall favorite of three decades ago. His program calls for three more to be (Continued on page 32-G) BOXOFFICE :: April 1, 1939 E 32-A