The Exhibitor (Jun-Oct 1939)

12 THE EXHIBITOR WARREN STOKES' HOLLYWOOD NEWSREEL (Between the sudden hot spell and the United Artists convention our Mr. Stokes has /vis troubles, going into reverse with an imaginary telephone conversation as his deadline approaches. There is a ringing in his ears and he grabs the receiver.) HELLO, STOKES! This is the JEP group speaking to you from Philadelphia. You re late with your copy, what’s wrong? This is your managing editor. Now, listen! What s the big idea? ( There is a spluttering noise as he stalls for an alibi. He finds his voice in a meek form) STOKES: Listen, Chief! I can explain every¬ thing. I was delayed at that UA convention. You don’t have to tell me, I know I’m in a hot spot. But it’s not altogether the convention, it’s that California sunshine, it’s got me. I’ve been trying to get an idea all day. There’s something wrong with my eyes too. I previewed six pic¬ tures last week and they all looked alike. It must be the heat. Every time I take a drink of water I can see ’’The Man In The Iron Mask. What a convention! Are you there? YE ED.: (Exasperated) Yes, I’m here, and so is your deadline. You better give me your stuff over the telephone. And make it constructive to hold up the reputation of JEP and keep faith with our exhibitor readers who have lauded our efforts in this direction. (There is a moment of silence) STOKES: Maybe I’m going in the wrong direction. All I can hear is the murmur of a rippling stream, see the glint of the sun on my fishing pole, and feel the tug of a rainbow trout. I need a rest, Chief! Honest, you’ve got to admit my assignments have consisted of a lot of hard stuff lately. YE ED.: (getting real tough) You’re telling me. What a convention! Seems to me you should have picked up something there. STOKES: I did. But it’s not for publication. YE ED.: (Stifling a laugh) Why didn’t you break away and cover the studios. You might have found an idea there! STOKES: (In a more confident tone) Not a chance. I’ve been watching them make pictures for years. They still make them the same way. Don’t get me wrong, Chief! Hollywood’s been turning out some pretty good product lately. Lots of people I know have seen the same pic¬ tures several times. YE ED.: (beating Stokes to the punch) How can they help it with so many dual bills in that territory. STOKES: You’ll never find me crazy enough to sec anything twice! YE ED.: What about "The Man in the Iron Mask?” STOKES: That was a Scotch treat. Well, it was Scotch anyway. But getting back to the subject of this conversation, a constructive thought for the industry. I now have the germ of an idea. And what a germ! It eats into the studio payroll, increases the overhead, runs up the production cost and makes box office flops out of pictures that ought to be successes. And who do you think is responsible? YE ED.: (with a note of sarcasm) "The Man In The Iron Mask.” Let’s cut out this Small talk and get down to business. Who is this menace to motion picture progress? STOKES: I’ve never seen him. But I can see his handiwork and watch the results. YE ED.: What a convention! STOKES: (In serious vein) On the level, Boss! I’m talking sense. I’m referring to Mr. Title Changer. Now, if I come through with the idea can I take a couple of days off and go fishing? YE ED.: (watching the clock) Yeah! but make it snappy; we’re going to press. STOKES: Okay, Boss, here it is. Hollywood makes a best seller novel titled "The Columnist’s Nightmare,” already familiar to millions of po¬ tential theatre customers and they change it to "Tillie Rides A Bronco.” An extensive publicity campaign plugs "Tillie Rides A Bronco,” for several months, as a selling aid to the exhibitor. A couple of weeks before it is released, Mr. Title Changer decides to call it "Tillie From The Bronx” and what happens? Millions of potential customers waiting to see the widely publicised "The Columnist’s Nightmare,” which has been (See Mr. Stokes’ column) changed to "Tillie Rides A Bronco,” fail to buy a ticket at the box office because they don’t recognize it under the cognomen of "Tillie From The Bronx,” which makes its first appearance on the marquee for a practically cold showing in spite of the extensive publicity campaign which has been absolutely wasted. YE ED.: And they blame the exhibitor for not taking advantage of the publicity extended by Hollywood. The resultant bad business is blamed upon the exhibitor’s lack of enthusiasm, and he is, because of the title changing habit, believed to be lacking in the elements of good showmanship. STOKES: You said it, Boss! We need more showmanship in Hollywood. More thought on the value of the psychology of print. A title publicized for months has more value to the ex¬ hibitor and the industry in general than one freshly coined overnight with little or no publi¬ city at all. Otherwise it is wasted effort and the very essence of poor showmanship. Now can I go fishing? YE ED.: Sure, I hope you get a Melanogrammus Aeglefinus. STOKES: What’s that, Boss? YE ED.: A haddock! STOKES: I’ve had one all day. Think I’ll take an aspirin. This is WARREN STOKES saying, "So Long, Folks.” — WHAT A CON¬ VENTION ! ! ! MOVIE LOTS’ NEWSY SHOTS Robin of the Rails "Casey Jones” has been set as the title for the George M. Arthur production starring Bob Burns which will follow his current Paramount feature, "Our Leading Citizen.” Lesser Buys "Our Town” Sol Lesser has purchased the screen rights to the Pulitzer Prize-winning New York stage h.t, "Our Town,” and scheduled it as one of his first productions for United Artists. Picture will be made in Technicolor under the supervision of Ernst Lubitsch. Richard Dix to RKO Richard Dix, who made a smash comeback in Republic’s "Man of Conquest,” has been signed to an RKG-Radio contract calling for three pictures to be made within the next 15 months. Dix is also committed to Republic for "The Life of George Washington.” Laurel-Hardy Set Stan Laurel and Oliver Hardy will be reunited this summer in a feature length for RKO-Radio under the terms of a contract closed between George Schaefer, president of RKO, and Boris Morros Productions. Picture to be made will be based on the French comedy success, "The Avi¬ ators.” It is scheduled for the cameras early in July. More Title Changes Five Republic pictures have been given new titles. "All The Tomorrows,” starring Frieda Inescort, will be released as "The Zero Hour;” "Tidal Wave” is now monickered "S-O-S Tidal Wave;” "Headin’ for Texas,” Roy Rogers starrer, becomes "Southward-Ho;” "Stand Up and Sing” is being tagged "Mickey the Kid” and "The Road to Eldorado” will be shown under the title of "In Old Caliente.” Triple Billing First triple role in pictures will be played by Henry Hull in Metro’s "Miracles For Sales.” By means of make-up and voice changes, he will appear as he is, as a blond, blue-eyed card sharp with a club foot and as a menacing escape artist. By double exposure, he will act opposite himself in several scenes. The studio is now trying to effect triple exposure so all three characters can appear in the same scene at the same time. Selznick Signs Wyler David O. Selznick has signed William Wyler to direct "Intermezzo,” which will star Leslie Howard also serving as associate producer on the picture. Background shots already have been filmed in Sweden, locale of the picture, which goes before the Hollywood cameras June 1. Wyler, who rose from an assistant to become one of Hollywood’s most famous directors, was the di¬ rector of "Wuthering Heights,” "Dead End,” "These Three,” "Dodsworth,” "Come and Get It” and "Jezebel.” May 24, 19)9