Boxoffice (Apr-Jun 1939)

Democratic Ally in Merged Progressive Film Groups New York — Films for Democracy and Associated Film audiences have merged as Film Audiences for Democracy with Professor Henry Pratt Fairchild, head of the Town Hall Club, as president and with Dr. Worth M. Tippy, former general secretary of the Federal Council of Churches of Christ in America, as honorary president. Gardner Jackson is vicepresident; Robert K. Speer, treasurer; Samuel J. Rodman, secretary and Edward J. Kern, director of activities. The purpose of the combined organizations, according to its letterhead, is “to encourage films that uphold American democracy, civil liberties and peace; that promote better understanding and improve neighborly relations between racial and religious groups; that present an accurate, undistorted as well as a socially useful portrayal of the contemporary scene; to oppose fascist trends, attacks on labor, and films contrary to the Bill of Rights.” In a current copy of Film Survey, occasionally published pamphlet first established by Associated Film Audiences, there appears editorial endorsement of “Juarez” and “Confessions of a Nazi Spy.” “For some time, we, together with other progressively minded people, have clamored for films which truthfully portray the contemporary scene, for films which take a positive attitude toward our traditions of democracy and liberty. We have maintained that the public would flock to such pictures and would demand more of them,” the editorial states. “Now Warner Brothers give striking evidence of the validity of our contentions. ‘Juarez’ and ‘Confessions of a Nazi Spy’ are powerful answers to those doubting Thomases who question the screen as a force for social good. Warner Brothers deliberately produced these two pictures in a conscious effort at film making with social content and both are without a doubt ample proof that a movie can be ‘your best entertainment.’ The films, the article continues, “are great beginnings. Seeing them impresses one with the vast potentialities inherent in Hollywood. Now that we have seen how great the screen can be, it will not be so easy to please the public with shoddy and banal trivia.” Second German Effort To Halt Film in K. C. Kansas City — For the second time in two weeks a German minority here sought to stop a motion picture on the grounds it dealt unfairly with the Nazis. E. L. Cranfill and Vernon D. Fulcrut late last week presented a petition asking that the motion picture censorship appeal board revoke the licensing of “Professor Mamlock” by Mrs. Eleanore C. Walton, city censor. The petition was signed by 15 persons. Before the board had time to act, the Vogue, which was playing “Professor Mamlock,” changed bills. “Mamlock” did very little business. Pro-Nazi Censorial Moves Are Blocked Hollywood — Along two fronts, with Warner’s “Confessions of a Nazi Spy” as the focal point of both, the Hollywood Anti-Nazi League and kindred units have opened a campaign against any attempts by pro-Fascist groups or individuals to curtail widespread exhibition of the feature. Charging the local German-American Bund with being the culprits, the HANL’s official publication, Hollywood Now, reported the distribution of “scurrilous leaflets” attacking the Warner feature because the company allegedly used Jews in the positions of actors, writers, director, producer, technical advisor and historical director. The circulars, signed “Committee on Unemployment, Hollywood Actors and Technicians,” charged that films of this type “disgust American audiences and destroy foreign markets for Americanmade pictures, and deprive our thousands of unemployed actors, technicians and extras of opportunity to work.” The HANL, however, maintains that there is no such “committee” and pins the authorship of the circulars on the Bund. HANL officials declared that, as far as could be determined, the circulars were distributed only locally and, apparently, in limited numbers. Earlier, the HANL had dispatched a telegram to the board of appeals of Kansas City, Mo., vigorously protesting attempts by the German vice-consul there to stop the showing of “Nazi Spy” through circulation of a petition. The League’s wire charged the petition is “obvious work of known Nazis and Nazi sympathizers” and said the film “is the greatest antiFascist picture yet made.” A similar message, urging that the board “not be swayed by minority Nazi opinion,” was dispatched by the Hollywood branch of Associated Film Audiences. All Officers of AAAA Are Renamed lor Two Years New York — All officers of the Associated Actors and Artistes of America have been re-elected for two years. The slate includes Frank Gillmore, president; Jean Greenfield of the Hebrew Actors’ Guild, first vice-president; Ken Thomson, executive secretary of the Screen Actors’ Guild, second vice-president; Leo Fischer of the American Guild of Musical Artists, treasurer, and Paul Dullzell of Actors’ Equity, executive secretary. Nolan to St. Louis St. Louis — R. V. Nolan, Chicago salesman, has been promoted as RKO’s St. Louis branch manager, succeeding Bernard McCarthy, resigned due to ill health. Explains How Draft Would Operate Chicago — Irving Moross, Columbia attorney who has been sitting in with A. Montague, general sales manager, at the distributor negotiations on the trade pact, explained to the midwestern convention delegates here how the dratt will work if, and when, it is adopted by the industry. Montague informed the men the company is for all the principles. Both men also expressed the same views to the branch managers and salesmen at Atlantic City, but instead of going to Los Angeles for the final regional which started Saturday, Moross returned to New York. Producer Towne Has a Grip on Opportunity By DAVE GOLDING New York — Gene Towne was talking and getting a lot of things off his chest. After all, he could say what he wanted because Towne and his writing associate, Graham Baker, are now full-fledged producers. Or to be specific, president and associate vice-president of The Play’s the Thing Productions. The unit will be just that, according to Towne. It plans to release four pictures a year through RKO. Material will be based on accepted literary classics by such authors as James Fenimore Cooper and Washington Irving. Although a producer, Towne insists he is first and foremost a writer. “No one can mess up my stuff now. The trouble with writers is that they are too well-paid. That’s why they are afraid to say no.” “We are going to get away from all that,” Towne exclaims enthusiastically. “The most important thing is the story. Our material will come from a source already accepted by the public.” Here Barret McCormick cut in with an advertising man’s knack for a cogent phrase. “It comes down to art for boxoffice’s sake.” Towne agreed emphatically. “That’s it exactly.” Whatever happens, the RKO lot probably won’t lack for excitement. For example, Producer Towne and Baker hired a couple of writers. Where to put them was the question. So Towne and Baker gave up their offices to the writers. “Whathehell, we’re only the producers,” says Towne chuckling as he recalls the producers with whom he had worked. Technicolor Earnings for Quarter Show a Drop New York — Earnings of Technicolor, after estimated taxes, were approximately $310,500 for the first quarter, George F. Lewis, vice-president, told stockholders at the annual meeting. This compares with $360,889 earned in the corresponding period last year. 24 BOXOFFICE :: May 20, 1939