Hollywood Filmograph (Jan-Dec 1933)

MAY 20, 1933 k f\ HOLLYWOOD 1 nlmoOrapr Subscription Rates: $5.00 Per Year Entered as second class matter April 13, 1926 at the Post Office, Los Angeles, Calif., under the act of March 3, 1879. Published weekly by Hollywood Filmograph, Inc., 1606 Cahuenga, Suite 213-214. (Los Angeles, Calif., Post Office.) Office phone HI1146. Harry Burns, President and Editor DAD fAVf ********** if******** MUSIC ******************? Vol. 13 Hollywood, California, Saturday, May 20, 1933 No. 19 THE BREADLINE We worry about our daily bread, and make old men and women of ourselves. The little birds that fly over our heads, have greater reason to worry, but, they fly from ledge to ledge, street to street, until they find their daily bread. We have the brains and intelligence to find where THE BREADLINE forms, and to await our turn to be served, some better than others, perhaps because they deserve the better things of life, but, at any rate, THE BREADLINE has been formed and if we will stop worrying about the effort it will take to find it out and go out and seek where the line forms, we will become happier and healthier, and be better fitted to do the work set out before us in our daily life. Life is just that way, people invite worry and trouble, and whatever we do there is a round trip ticket to it. So set your minds at ease as you read this, and start seeking how you can locate the best things of life that are being served on THE BREADLINE. This good old world is full of supplies that are needed by all of us, the farmers have more crops this year than they will be able to dispose of, and you are entitled to a decent living, proper food, clothing, yes the necessities of life. So, stop putting barriers in your way to find THE BREADLINE set aside for you to obtain your supply of what you need to carry on your part and duty to humanity. Moving Movie Throng by John Hall Well, sir, by and large, it looks like a game of freezeout. The thing started way back yonder when the Wall Street bankers and their electrical cronies up around Schnectady opined that thar be gold in them thar movie hills. The electrical bunch had a doodad that recorded sound — and presto! The Mammy boy with the tear in his voice knocked the goldbearing Silent Drama for a loop, right out of the frame. After this painful operation they froze out the Big Producers by the simple process of chopping them away from their lucre in the Stock Market — and took over the industry, including all big theater chains ... In their innocence, the Bankers bankrolled the studios and told their ex-owners to go right on making pictures, just as though they — the ex-owners — really owned the plants . . . Right away towns and cities throughout the Nation were depopulated of relations of studio executives, who all rushed to Hollywood and became supervisors at fat salaries . . . The enthroned Producers, in meeting, ordered the freezing out of all Independent Producers and the rounding-up and branding of all workers, including Stars, Directors, Writers, Supporting Players, Technicians— or else . . . Now the Producers' Central Casting Corporation — point blank — orders 1 7,000 Extras to look for other work, only the most experienced being required . . . This last move may serve a useful purpose . . . There are far too many extras — always have been. The move should have been made years ago ... So that's that ... It has been said that a cat may look at a king. In Hollywood an Extra may look at a Star — even a Producer. Stars are easy to look upon — but a Producer! Looking upon a Big Producer is something else. One does not look upon a Producer. One tries not to see him — if one is wise. You see, when a Producer gets close enough to an Extra to be looked upon, and the Producer observes the looker — right away the Producer calls a minion and says: "Who is that fresh guy looking upon me with a dirty look? Fire him!" . . . Knowing this strange habit of all Big Producers, the lowly Extra — who may look upon a king — does not look upon a Producer ... As a matter of fact, when a Big Producer hovers in the offing — everybody is too busy to look upon him; you bet. Now these Big Producers are looking upon a very strange thing. They are looking upon a Metamorphosis. The entire business they are in — that is, a little in — is changing. Slowly comes the dread realization that things are not what they used to be. Somebody back there in Wall Street is being horribly smart. Plutocracy, bloated with Talkie machine millions, has Television — and when those tenyear sound recording doodad contracts expire — Oh, well; let's go right on being happy. The Tin Pan Alley boys can rhyme beer with cheer. The game of freezout nears the final play. DAD Jimmie Durante, Charles Butterworth and Stuart Erwin, screen comics, have spots in "The Dollar a Day Man" — M-G-M . . . Al Werker will direct Spencer Tracy in "Lead Harvest" — Fox Films . . . Edward Everett Horton has a comedy spot in 'The Way to Love, " Maurice Chevalier's picture . . . Vivienne Osborne, Broadway actress, has an important role in "The Devil's in Love," Wilhelm Dieterle directs — Fox . . . J. Carrol Naish, the "quiet menace" of the screen, lands one of the big spots in "Arizona to Broadway." Sam Coslow, lyric writer, and Arthur Johnson, composer, are teamed in "Her Bodyguard" — Schulberg-Paramount production . . . Ricardo Cortez, not Cary Grant, plays opposite Claudette Colbert in "Torch Singer" . . . Margaret Sullivan will take the lead in "Imitations of Life," John Stahl directs— Universal . . . Rockcliffe Fellows has a spot in "Man of the Forest" and Marjorie White an important role in "Her Bodyguard," Paramount ... Ed Wynn will return to M-G-M in July. Helen Vinson, blonde actress, has the principal feminine role in "Midnight Club" — Paramount . . . Frances Dee plays opposite Robert Armstrong in "Fog Bound"— RKO-Radio . . . Edward Sutherland slated to direct "Too Much Harmony" — Paramount . . . Fay Wray has a featured role in "One Sunday Afternoon" . . . W. S. Van Dyke will direct "Laughing Boy" — Ramon Novarro picture for M-GM. / Jean Harlow has a spot in "Hollywood Revue of 1933"— M-G-M . . . Pantages theater reopens with Marion Davies in "Peg o' My Heart" . . . Gertrude Hoffman added to cast of "The Death Watch"— RKO-Radio. Harry Green plays the semi-tragic Eventually! Why Not Now? Some of the most successful stage plays have only one set. With reduced picture rentals necessitating diminished outlays, what movie magnate possesses enough 'guts' to experimentally desert the sheep track and screen a well-written picture in only enough sets to bring out its dramatic strength, instead tossing out an extra 'fifty grand' for mere production value. I believe the public would welcome the change. Stage folks do not have to shift their scenic locale every minute or two, so why make screen stars do it ? Think it over. James Madison Creative Writer 465 So. Detroit St., L. A. (OR-9407) Symphonies Under The Stars Starts July 4th The twelfth annual season of "symphonies under the stars" in Hollywood Bowl begins on July 4. Bernardino Molinari, long considered one of the world's greatest conductors, opens the season and conducts for two weeks, to be succeeded by Sir Hamilton Harty. A number of spectacles are being planned and announcement regarding the first of these will be made shortly. Ballet productions will be increased to six in number, and will be offered on Saturdays. Soloists engaged to date include Richard Crooks, tenor; Queena Mario and Grace Moore, sopranos; John Charles Thomas, baritone, all of the Metropolitan Opera Company; Ossip Gabrilowitsch, eminent pianist-conductor of the Detroit Symphony; and Jeanette Vreeland. Dates for the appearances of these and other artists will be announced early in June. role of the Jewish tailor in C. B. De Mille's "This Day and Age" . . . Jeanette MacDonald and Nelson Eddy have the top spots in "Prisoner of Zenda" — M-G-M . . . Columbia buys film right to Buddy DeSylva's song hit "Edie Was a Lady" . . . Harry Carey in cast of "Man of the Forest" — Paramount. Caryle Blackwell — remember him? — plays opposite Mae West in "I Am No Angel," so it is written . . . RKORadio buys screen rights to "Aggie Appleby, Maker of Men" . . . Lionel Barrymore plays the villain in film version of "Dance Hall Daisy," Tod Browning directs — M-G-M . . . Mabel Marden has featured feminine lead in "Gleason's New Deal", starring James Gleason, James W. Home directs — Warren Doane production for U. phof0< Delicate tones In Vr^V Make-Up to control ^V photographic value* J^V are made possible by ^s# the high blendablllty of ^^» our Grease Paints, Powders, f\ Rouges and Lining Colors* MAX £ FACTOR'S c MAKE-UP $ HOLLYWOOD •