Boxoffice (Oct-Dec 1938)

THE impending breach between Hollywood players — members of the Screen Actors Guild — and their agents was materially widened when the directorate of the talent organization early this week voted to reject the counter proposal, submitted by the Artists Managers Guild and a number of independent agents as a compromise measure with which the AMG has hoped to replace the SAG’s stringent 19-point franchising program for the talent peddlers. The artists’ representatives’ proposal was designated, in the letter of rejection sent the AMG, as “unacceptable,” and Guild leaders declared the original 19-point plan will be placed into operation — or else. Film capital dopesters seem unanimous in the opinion that the members of the AMG, who apparently are determined to fight to the last ditch the licensing plan in the form it is being projected by the SAG committee on future agent-client relationships, will, as their next move, carry their case directly to their respective clienteles, explaining the agents’ viewpoint and endeavoring to garner their individual support in opposition to the SAG’s present firm stand. It is doubted that the agents, who in most cases have risen to their present high stations of influence and affluence through exercising good business judgment and vision, will resort to so foolish and futile a step — and, if they should, the move seems almost certain to meet defeat. During the many years when the SAG was battling with the producers for the unqualified recognition it now enjoys, scores of similar efforts were made by the latter in vain attempts to deal individu ally with their respective lists of stars and players and with the obvious object of weakening the Guild’s solid front. The unrestricted failure which attended all such endeavors is now history. Certainly, if the producers, who, after all, sign the paychecks, were unsuccessful in denting the talent organization’s unity during a time when the SAG was in its struggling and formative stages, the agents would have even less chance now that the Guild has attained unprecedented strength. A too concerted attempt in this direction might easily place the members of the AMG, individually and collectively, in an even more precarious predicament than that into which the popular trend toward franchising has already precipitated them; might, in fact, bring about a total collapse of the agency system. A very definite '‘goose” complex seems to have settled on Metro. Last week, Leo’s publicity department caused the welkin to ring with the breath-taking announcement that an untold number of goose feathers had been purchased to provide Indian head-dresses for the dancing gals in ‘‘Ice Follies.” Now is released the equally startling information that Jack Hinds, of the M-G-M prop department, bought ten geese, of the same size, one to be roasted daily during the ten days of filming “Christmas Carol,” which Edwin L. Marin is directing. At least, the boys are doing their best to shy clear of turkeys. Or, are tm pants indicated? While official confirmation is still forthcoming, several printed reports regarding Charlie Chaplin's future production plans hold that his next picture will be a satirical comedy in which the veteran humorist will portray a dual role — that of a powerful European dictator and of a meek and inoffensive housepainter who is his exact double and who projects himself into riotous complications when he is mistaken for the overlord. The parallel with the life of Adolf Hitler is, of course, obvious. It is to be sincerely hoped that Chaplin will carry out these plans, reputedly now in scripting stages, and thereby stamp himself as the second top-bracket Hollywood actor to manifest sufficient courage to set forth his views of dictatorship in general and Herr Hitler in particular — the way having been courageously paved by Eddie Cantor whose outspokenness and activities in behalf of the persecuted peoples of dictatorruled European nations need no amplification. Perhaps Chaplin, through using the sharppointed foil of ridicule, can accomplish more toward exposing Der Fuehrer in his true (Continued on page 22) 1 Angels-One Flies, One Flops Among the octet of features unreeled for Hollywood reviewers' critical reaction during the week, three definitely qualified as top-bracket pictures, each contributing its respective share toward substantiating the now famous "Motion Pictures Are Your Best Entertainment" claim. As to which measured up as the best of the week, that is purely a matter of individual taste, since all of them contain sufficient meat to satisfy almost any cinematic taste. Attaining a new altitude record as an epical treatment of aviation and the men who have developed that great industry. Paramount's “Men With Wings" emerged as well-nigh perfect entertainment of its type. It bears the stamp of greatness in story, historical background and in sincerity of acting, its entertainment qualities even further enhanced by the use of Technicolor photography, resulting in some of the most gorgeously filmed action scenes ever caught by the camera. Louise Campbell stamps herself as an actress of the first calibre and William A. Wellman, who produced and directed, can add another boxoffice hit to his list. "Angels With Dirty Faces," James Cagney's second starring vehicle since his return to the Warner Bros, fold, brings the virile Thespian to the screen again in the type of role which first won him a place among the most popular stars — a hardboiled, ruthless gangster. While the picture is reminiscent of "Public Enemy Number One," one of his first successes, as well as "Dead End" — the famous kids from that epic sharing the acting honors with Cagney — it is an even more penetrating and action-laden study of crime and reform than either of the others. The Cagney name, the "Dead End" kids and a well-mounted vehicle should do their share in drawing the crowds. Also rating high in the week's offerings was Metro's "The Citadel," produced in London with an almost entirely British cast and based on the best-selling novel of the same name. It presents a vivid picture of the modern society doctor, and is so substantially constructed that it will undoubtedly be joyously received by intelligent and discriminating audiences both here and abroad. Robert Donat is flawless in the leading role, while Rosalind Russell, only American member of the cast, stands out well. Director King Vidor did an able job of transferring the book to the screen. * * * The film capital's sandwich-snatching reviewers found themselves in considerable of a predicament when two pre views, accompanied by groceries, were presented on the same evening — Fine Arts' "Cipher Bureau," for Grand National release, and Harry Sherman's ’Sunset Trail" for Paramount. Those luckless individuals who neglected to provide themselves with bicycles had to be content with one or the other. As picture fare, both rate solidly in the program bracket. Fine Arts' "Cipher Bureau" sustains interest throughout, showing particular authenticity in revealing the workings of this littleknown government department. "Sunset Trail" will prove no disappointment to the "Hopalong" fans, containing a full measure of ridin' and shootin', and additionally has been provided with more comedy and humorous situations than is customary in the series. Larrv Darmour contributed a new Jack Holt starrer, "Not for Glory," for Columbia release, which deviated from the usual melodramatic Holt fare but, nevertheless, is so workmanlike a job that it is certain to satisfy the veteran action star's fans. From out Monogram way came "Where the Buffalo Roam," a Tex Ritter western produced by Edward Finney, and classifying as ace-high sagebrush entertainment. * * * Undisputed occupant of the rear-rank was RKO Radio's "Tarnished Angel." From its trite title to the fadeout it is unstimulating and unoriginal, the fault lying principally with the story construction. Attractive Sally Eilers does her able best in the lead and Director Leslie Goodwins put his heart into the megaphonic chore, but the concoction failed to jell. BOXOFFICE :: October 29, 1938 19