The Film Daily (1948)

W*\baiiy Monday, March 8, 194! Labor, Star Expenses Bar Cheaper Films (Continued from Page 1) expressed the opinion that one avenue would be the reduction in the number of camera setups, and another, a rehearsal period before shooting starts. The latter, he said, would require certain concessions by the SAG. Selznick suggested that players be paid for rehearsal time, then go off salary until required before the cameras. Turning again to "star" insurance — and he observed that there were times when the title of a best seller rates as "star" — Selznick observed SRO's "The Paradine Case" is now 18 minutes shorter in running time than when the Alfred Hitchcock-directed pic played Radio City Music Hall, it was disclosed at the weekend by David O. Selznick. Cuts were effected without the scissoring out of a single scene, Selznick said, after study of audience reaction. that a star name is a safeguard when a picture turns out to be notso-good, while in the instance of a good picture, it means added money. Playing time and terms— and the exhibitor's advertising outlay and promotional activity, as well — are predicated on the presence or absence of star values, it was pointed out. On the Value of Polls Asked to what extent he relies upon the findings of public opinion polls, Selznick commented that they can not be a substitute for the showman's own judgment — that in the end, the decision must be his, based upon his know-how and experience. "They constitute a check on your own judgment," he phrased it. Turning to present industry bookkeeping practices, Selznick was critical of the imposition of an arbitrary studio overhead percentage charge applicable alike to pictures budgeted at $500,000 or $2,500,000. Similarly, he looked askance at distribution charges, and at terms, when asked why it was that companies owning circuits usually showed the latter earning money while production and distribution either made little or in the red. "If the home offices were in Hollywood," observed Selznick, with a smile, "I think it would be different. But that's another story." Turning to television, and its influence upon the film industry, Selznick said he had his own hunches, but that was all. "However," he added, "I'm not one of those who feel that people are so gregarious that they'll leave the comfort of home, deserting the television re SICK LIST REVIEWS Of DEW FILMS "Madonna of the Desert" with Lynne Roberts, Donald Barry, Don Castle, Sheldon Leonard Republic 60 Mins. FAIR ITEM FOR DUAL PROGRAMS; HAS NOVEL SLANT IN STORY DIVISION. Story substance of this one is interesting. It offers a new slant on criminal activity. Art thieves conspire to swipe an antique madonna. It is a statuette that has power of protecting believers from harm. Sheldon Leonard sets Lynne Roberts on its trail. It is in possession of Don Castle. Donald Barry, just out of San Quentin, tries his hand at snitching it, too. Castle and Paul Hurst live on a citrus ranch. Miss Roberts' ruse works at first but she is frightened at the miraculous power of the object. At a wedding celebration her dress accidentally catches fire. She is not burned. Leonard, however, will not be assuaged by Miss Roberts' excuse when she turns up without the figure. He goes after it. There is a shooting match. Hurst is winged, Leonard and Barry kill each other off. Miss Roberts and Castle take up romantically where they left off. This one is a fairly good item for a dual bill. George Blair handled the direction. CAST: Lynne Roberts, Donald Barry, Don Castle, Sheldon Leonard, Paul Huret, Roy Barcroft, Paul F. Burns, Betty Blythe, Grazia Narciso, Maria Genardi, Renee Donott, Vernon Cansino. CREDITS: Associate producer: Stephen Auer; Director, George Blair; Screenplay, Albert DeMond; Original story, Frank Wisbar, Photography, John McBurnie; Art director, Frank Arrigo; Music director, Mort Glickman; Editor, Harry Keller; Sound, Fred Stahl; Sets, John McCarthy, Jr., George Milo. DIRECTION, Adequate. PHOTOGRAPHY, Good. Sorrell Claims Proof of IA-Prods. "Conspiracy" (Continued from Page 1) itive" he can prove "criminal conspiracy" between the IATSE and producer leaders, while IATSE attorney Matthew Levy charged him with "conducting a filibuster" before the Committee. Sorrell said his testimony would be shorter were it not for the "smoke screen and distortion" of "phony Communist charges" by the IATSE. In the meantime, IATSE President Richard Walsh took violent exception ito published reports that Sorrell had on Thursday charged that Walsh accepted money from the producers. Walsh promised to be on hand for the resumption of the hearings tomorrow "to enter a personal denial under oath." Walsh wired the Committee from Pittsburgh, where the IATSE board was in session, that "there are two types of trade union leadership I loathe — the gangster-racketeer and the Communist racketeer. ... So far as I am concerned, I want nothing to do with either Bioff or Sorrell." Sorrell told the Committee a longstanding conspiracy ito "freeze" nonIATSE unionists out of their jobs was intensified in late 1945 by producers and the IATSE. ceiver, ito go to a theater where they Z. WAYNE GRIFFIN is recovering from I may have to stand in line for hours, an appendectomy at the Good Samaritan be subjected to people stepping on Hospital, Hollywood. I their toes, and other inconveniences." "The Mating of Millie" with Glenn Ford, Evelyn Keyes, Jimmy Hunt Columbia 87 Mins. THIS ONE WILL GIVE KEEN SATISFACTION; CLEVER PERFORMANCES, LIGHTLY HANDLED PLOT; HAS EVERY EARMARK FOR SUCCESSFUL RUNS. It's all in the treatment here which is top-notch. As familiar as the story is, this time it has been given new life, new lines, and a generous application of smartness. With light ease it slips from sequence to sequence, delivers much laughter with just the right bits of pathos. Boxofficewise "The Mating of Millie" has a great potential for rendering high satisfaction to patron and player. It's bright and clever. It is always played in the right key. Henry Levin directed with shrewd wit and he gives the audience what they demand. Script shows keen understanding of the comedy form as it evolves from the love game. Miss Keys is delightful as she metamorphoses from a frustrated career girl into a woman in search of a mate. In this department's opinion Glenn Ford never slipped up in a role and his venture into the light form here is solid stuff. Rest of the characters measure up for favorable notice. Plot is set in Los Angeles. Miss Keyes, a bachelor girl given devotedly to her job in a department store where she is personnel manager, has a heart interest. It is youngster Jimmy Hunt, son of a neighbor. She meets Ford, a bus pilot, who gets fed up with his job when riders stubbornly refuse to move to the back of the vehicle. She admires his independence, asks him to see her about a job. Young Hunt's mother is killed. Miss Keyes is distraught when she learns he has been taken to a foundling home. Investigating she finds she must be married in order to adopt the kid. Ford, an aspiring novelist, is hired as a floorwalker. She tells him of her predicament. He offers to advise her on how to get a husband. Himself, he prefers the free, devilmaycare life of a bachelor. They develop tactics on objects, strategy and attack. Ron Randell, head-man at the home, is the target. Miss Keyes, under Ford's guidance, emerges an attractive woman. Soon Ford, although he is unaware of it, as is Miss Keyes, is smitten with the lovebug. They kid each other and themselves until a time limit expires and young Hunt is to be adopted by others. Desperate Miss Keyes throws herself at Wihard Parker, a neighbor, although she does not love him. At this point Ford finds i publisher. Realization of his feeling for Miss Keyes dawns upon his consciousness. He rescues young Hunt. Concluding, Miss Keyes and Ford are in each other's arms, matrimony is just outside the door. It might be said that in "The Mating of Millie," the story is secondary to performances and characterizations. The interpretation rates lengthy applause. This one is another very welcome addition to the newforming collection of films dealing out lightness and laughter. CAST: Glenn Ford, Evelyn Keyes, Ron Randell, Willard Parker, Virginia Hunter, Jimmy Hunt, Mabel Paige, Virginia Brissac, Patsy Creighton, Tom Stevenson. CREDITS: A Casey Robinson Production; Director, Henry Levin; Screenplay, Louella MacFarlane, St. Clair McKelway; Story, Adele Comandini; Photography, Joseph Walker; Art directors, Stephen Gooson, Walter Holscher; Editor, Richard Fantl; Sets, Wilbur Menefee, Sidney Ctifford; Sound, George Cooper; Musical director, M. W. Stoloff; Music score, Werner R. Heymon. DIRECTION, Smart. PHOTOGRAPHY, Good. Local 306-Circuils Reach Oral Agreemen (Continued from Page 1) committees of labor and managemei began at 2 p.m. Thursday and coi tinued to 8:30 a.m. Friday, w4 on] one intermission for dinner. ^ Among points granted b a; agement were: Wages: Projectionists to get 1 per cent wage increase retroacth to Sept. 1, 1947; contract to run ui til Aug. 31, 1949. Hourly wage sea in neighborhood houses was creased from $2.72 to $3.13; in tij de luxers, from $4.30 to $4.94. Shop conditions: Union to opera as a closed shop; Taft-Hartley A< does not preclude closed shop, sinci Local 306 does not engage in inte state commerce. Vacations: Schedule to be dete mined by the union, as in the provided schedule does not interfei with operations; not more than or relief projectionist to any one shift Job replacement: When a proje tionist leaves his job, union to alte nate with manager in choice of su* cessor where neighborhood housi are concerned; in the Broadwz: showcases, manager to have 100 pi cent choice. Signing in and out: Projectionis to report in and out by phone, stead of signing the roster as hzbeen requested by management. Contracts should be ready for signature tomorrow, though one or two loose ends w have to be ironed out later on by Richard Walsh, president of the IATSE. Both have agreed to abide by Walsh's deeisi< (1) Whether the Brooklyn Paramount whave a '50 per cent or a 100 per cent choi' in replacing steadily employed projectionist (2) Definition of "change in policy." (Ty of run determines wage scale of a hous Maj. Leslie Thompson of HKO and Attc! | ney Irving Greenfield of Loew's headed ma, agement's negotiating committee. Herm Gelber, president of Local 306. and Attorn Harry Saeher, specialist in labor rela were in the van of the union's negot committee. Affected by the negotiations are about '"' projectionists. Broadway showcases operar by the major circuits as well as the circu operated by Loew's and RKO. Also involv is an estimated $200,000 in back pay. 60 Pennsylvania Places Mulling Amusement Taxe Harrisburg — More than 60 Pen sylvania cities, borough and tow ships are considering amuseme taxes to balance budgets, a survi disclosed. About half of the munk palities have adopted such levies. Harrisburg's new ticket tax mea ure, imposing a one-cent levy < each 12 cents of admission becom effective Wednesday. UJEDDinG BELLS Krone-Unger Engagement of Betty Krone Bernard G. linger was announc Friday. Miss Krone is secretary Rube Jackter, assistant general sal manager of Columbia Pictures.