Variety (January 1953)

Wednesday, January 7, 195S Forty-seventh t^S^RIETTlT Anniversary PICTURES 59 Many Vet Directors From Silent Days Still Going Strong in H’wood old adage that a star’s life isn’t longer than five years on the screen is a far cry from any axiom that might be culled for application to directors. With plenty of new and shining megging talent prop- ping up on every hand,' the ob- server must give pause to the fact that many of the top directors to- day are survivals of the silent days, and can still give cards and spades to many of these upstart new- comers. A goodly'portion of the early di- rectors who helped launch the bawling infant which was the “flickers” now are gone to their just reward or in retirement, but a goodly portion also remains. Names such as D. W. Griffith, Thomas H. Ince, George Fitz- maurice and Alan Holubar, all now gone, are matched now by such tops in silent days as Cecil B. De- Mille, Raoul Walsh, David Butler, Robert Z. Leonard, Clarence Brown, all foremost in the present- day field and likely to continue so. In a business where fresh talent constantly is nudging and crowding those who have grown up in it, it’s surprising to find so many of the silent-picture directors still are up- permost in their chosen profession. And from their record; not in any danger of being eased out by all this new talent, either. Many of the most solid hits year after year are turned in by these battle- scarred veterans who refuse to give way, and one such as De Mille, most veteran of all, not only is a standout but his pictures make more'^bin'liian any other director in the business, old or new. By WHITNEY WILLIAMS Hollywood. Henry King was responsible for ‘‘The Snows of Kilimanjaro,” in a many-year association with 20th- Fox. Norman TaUrog is doing Martin and Lewis’ latest for Hal Wallis at Paramount; Roy Del Ruth megged Warners’ “Stop, You’re Killing Me”; William Wyler has aramount’s “Roman Holiday” to his unreleased credit; and Allan Dwan bats them out at Republic, “The Woman They Almost inched” his latest. 45 Silent Directors Active & No less than 45 silent directors are now busy in film production, the great majority active in “A” product output, while from 15 to 20 are engaged in television. An- other 10 or more occasionally emerge to make a film or so, then retire for a period. All in all there are approximately 75 silent film meggers who are still active in varying degrees, approximately 25% of the Screen Directors Guild membership. A large number are under con- tract to the majors, but others head their own indie groups and still others freelance. What is most important, their services still are in demand, and usually there’s no gamble when a producer hands one of these vets an assignment—he knows he’ll get his money’s worth. Top directors from the silents, : d still tops, are such names as George Marshall, Leo McCarey, Lloyd Bacon, Alfred E. Green, Ed- mund Goulding, Mervyn LeRoy, William Wellman, to cite a few, in addition to those mentioned above. Marshall is at Paramount, where he recently completed “Houdini”; McCarey just left this lot, where lie last did “My Son John”; Bacon swings amund, doing “The I Don’t Care Girl,” at 20th-Fox, and “The Great Sioux Uprising,” “Walkin’ My Baby Back Home,” UI; Green will do “The Cantor Story” at War m>rs, goes to Spain for America’s Female of the Species.” Goulding is pacted at 20th-Fox, last did “We’re Not Married”; Le- Roy, with “Quo Vadis” under his belt, now is doing “Latin Lovers for Metro; Wellman also is at Met- ro, will go loanout to Wayne Fellows Productions for “Island in the Sky.” Gf those previously listed, De- Mille is propping another “The 10 Gjmmiandmants,” last turned out The Greatest Show on Earth”; Raoul Walsh did James Cagney’s A Lion Is in the Streets”; But- jer, termed at Warners, is handling Calamity Jane.” Leonard, a fix- [ure at Metro, is now doing “The ^reat Diamond Robbery”; Brown, J ls ° a top Metroite, made “Plym- outh Adventure.” reads like a Who’s Who S!,i A l°« 10 , n Pictures. King Vidor u-iii * uby Gentry,” as an indie ^ n Joseph Bernhard; Michael u- a ^Warners tradition,'just wound 'Trouble Along the Way”; Hall, Seiter, Etc, Alexander Hall recently finished ‘Let’s Do It Again” for Columbia; William A. Seiter will do “One for the Road,” at Republic; John Ford hops from one picture to another, currently Metro’s “Mogambo” and ‘The Quiet Man” his under his own banner. Norman Z. McLeod’s atest credit is “Never Wave at a WAC” for Independent Artists, after a long contract at Paramount; George Stevens not long ago bowed out of Paramount, with his “Shane” still unreleased; George Archain- baud directs all the Gene Autry films, and also some of oater star’s TV pix; William Beaudine handles all Allied Artists’ “Bowery Boys” series, and also takes a frequent flyer in video. Howard Hawks’ latest is “Gentle- men Prefer Blondes” for 20th-Fox, but has his own Winchester indie firm. Lewis Seiler goes from one to another at Warners, his newest, ‘The System”; Tay Garnett did Main Street to Broadway” for Cinema Productions; Walter Lang did “Call Me Madam,” at 20th-Fox. Charles Lamont does most of the Abbott and Costellos at UI, just completing “A & C Meet Dr. Jekyll and Mr. Hyde”; Spencer Bennet directs all the Sam Katzman serials at Columbia; Eddie Buzzell has Metro’s “Connie” for his latest credit; Sidney Lanfield, “Skirts Ahoy,” also at Metro. Ray Enright recently wound up “Cairo” for Bernie Luber in Rome, and is doing other films abroad; Merian C. Cooper returns to direc- tion for the first Cinerama produc- tion, and is production head of this company as well as John Ford’s partner in Argosy Productions; Lew Landers is active to the ex- tent of about 10 B’s annually and many telepix. E. A. Dupont just ended “The Neanderthal Man” for Wisberg-Pollexfen, and also does TV'films. Alfred Werker megged “Posse” for Columbia, as his latest endeavor. Reeves (Breezy) Eason recently returned from Singapore where he made two features and two shorts for Sound Masters, Inc., of N. Y.; Ralph Staub for the past 12 to 13 years has been grinding out Screen Snapshots” at Columbia; Jules White for many years has been head of Columbia shorts de partment, and directs this product. A1 Rogell Active Frequently active, too, is. Albert Rogell, who makes at least one annually; Paul Sloane several months ago made a Japanese film, English-titled, “Forever My Love”; Frank Lloyd recently announced he would emerge from retirement for a picture; Frank Borzage, Eddie Cline, • Chach Reisner, William Nigh, Lambert Hillyer, Tim Whe- lan. Frank Capra, whose last was “Here Comes the Groom” for Par- amount, will become active in tele vision, he announces. He also has announced that if anything appeal ing to him shows up he will make another film. The television scene has attract- ed a number of silent-fim meggers, too. Included here are Les Good- wins, now doing Robert Cummings’ “My Hero” series, as well as shorts for RKO; Erie C. Kenton, Hal Roach’s “The Racket Squad” se ries; Howard Bretherton, under yearly contract to Roland Reed Productions. James Tinling also does “Racket Squad,” and so does James Flood. Ross Lederman handles some of Autry’s Flying A telepix; Charles Barton, “Amos ’n’ Andy”; Ha* Yates, “Margie,” and E. A. Dupont also is associated with Gross-Kras ne’s “Big Town” series. Others who also are active in telepix direc- tion are Del Lord, Edward Sedg wick, Frank Strayer, Sam White, Vernon Keays, Ralph Murphy, Rob- ert Florey and Wallace Fox. Bob Weil Goldwyn Office As ‘Paradise’ Sales Rep Samuel Goldwyn office in New,] York, headed by James Mulvey, will serve as sales rep for “Return to Paradise,” Gary Cooper starrer being turned out by Aspen Produc- tion (Robert Wise and Mark Rob- son). Distribution will be via United Artists. Goldwyn outfit has served as producers’ rep in distribution matters a few times in past. re ‘Seats’ Than Ever, Drive-Ins On Upbeat in 0. By ROBERT A. WILE (Exec Sec, ITO of Ohio) Columbus. Pix still has a tremendous inter- est for the people of Ohio, opinions by certain columnists to the con- trary notwithstanding. This is evi- denced by the fact that SRO signs are kept handy in many theatres. It is popular to blame tele- vision for the closing of cer- tain theatres. As a matter of statistics, there are more film “seat s” available to- day than there were at the end of th'e war. The word “seats” is put in quotes because many of the pres- ent patrons of the movies see them at drive-ins. The drive-in theatres have increased prodigiously all over the country. Only California, Florida and Texas rank ahead of Ohio in the number of drive-ins, these three states obviously enjoy- ing climates enabling year-round operations. Certain marginal* conventional theatres have been closed. This is a natural process of growth and decline of physical properties such as exists in any business. In the larger cities, those theatres which do not have airconditioning for summer operation, or are located in . declining neighborhoods, or have no parking room, or are so antiquated alongside their newer competitors as to be unable to withstand competition, have closed. Television has its own field of en- tertainment, separate and apart from the movies. There will always be an clement of people who will enjoy a feature picture in a thea- tre without interruptions by com- mercial announcements, without risk of ’phone calls or visitors dis- turbing the train of thought. Television on the other hand at certain times offers to its audi- ences subjects which they feel worthwhile when viewed without charge but for which they would be reluctant to pay. Theatre owners know that tele- vision will never be able to show the type of film which has proven most popular, A feature costs any- where from $500,000 up to $5,000,- 000. What advertiser can afford to give this away for the sake of selling his wares? Factors other than TV have caused a decline in b.o. attendance in certain areas. Some theatres in towns of less than 2,000 have closed their doors. Their patrons now all own automobiles and can attend either a drive-in or a con- ventional theatre in a larger town. In some other towns, which were large enough to support two thea- tres a few years ago, the same factors have compelled the closing of one. It has been frequently said that there is nothing the ■ matter with the movie industry that a few good pictures wouldn’t cure. The diffi- culty is in the interpretation of the word “good.” What is popular in some theatres in Cleveland, Cin- cinnati, Columbus or Dayton, would play to empty houses in other cities. What is b.o, in certain small towns cannot even get room as the second half of a double bill in the large cities. Ohio has been the scene of number of notable experiments in the motion picture-theatre field during the past year. Led by the huge Twin Drive-In in Cincinnati, Hedda Hopper’s Radio Hassles Excerpt From Columnist’s Autobiog, ‘From Under My Hat’ By IIEDDA HOPPER Hollywood. Recalling my first experiences in radio, activity in my office on Hol- lywood Boulevard went into high gear when I .started to go on the air three times a week for Sunkist Oranges. I saved all my spiciest bits of gossip for the air and, knowing nothing about libel laws, insisted on putting them on the radio. The battle for news was nothing compared with the battles I had at the broadcasting studio. The entire legal department of CBS would be on hand bfefore each broadcast. After laughing over the items, they would cut my best bits to pieces. I saw no humor in tak- ing the spice out of my master- pieces, so I started a little schem- ing of my own. I would read the innocuous little stories straight, get the lawyer’s okay, then when I went on the air would get the in- sinuations over with my vocal in- tonations, a little trick I’d learned from' Wolfie (De Wolfe Hopper, her husband). I was having a wonderful time until Ernie Martin, a CBS execu- tive, pinned me to the mat. “How are you going to read this story, Hedda?” he would ask. “Straight?” “How else?” “Let me hear you do it.” I’d read it straight, then he’d trap me. Turning to his lawyer, Ernie would say, “I have a witness. You promised to do it just like that on the air.” Sometimes, with-the h£lp of Gor- don Levoy/'the most patient and one of the greatest lawyers I know, I’d rewrite an item 10 times, then Ernie would say, “Sorry, I can’t pass it.” I fought, I pleaded, I cried. I went on the a ir exhausted. | Chased Him t o B’way | I was so tough on Ernie, he gave up radio forever, went to New York, and became famous as the co-producer of “Where’s Charley?” and “Guys & Dolls.” My show wasn’t heard in Los Angeles. The sponsor figured that everybody in California bought Sunkist oranges anyway, so why advertise? Dema (Harshberger) had retired to her peaceful avo- cado ranch near Whittier, Calif., but wanted to check up on her protegee’s progress. So, when I’d been on the air a few months, she came in to hear the show. After sitting through a rehearsal and listening to the performance/ she said, “How long has this been going on?” “What do you mean?” “How often do you battle like you did today?” “Three times a week. Why?” “I started you on this career,” said Dema. “Another year of this and you’ll be dead. I can’t sit by and let you commit suicide. Some- body’s got to do your fighting for you so you can do the work. If you like, I’ll come in and run your rr.dio show and your business.” That was the luckiest day of my life. We made our business ar- rangement verbally. .There’s never been the scratch of a pen between !i us. Dema hadn’t been ip my office 20 minutes until a house-cleaning job took place the like of which the Guaranty Bldg, on Hollywood Blvd. never saw before or since. She swept the place as though it had an infection. And sure enough it had. I knew how to hire, but I’ll be darned if I could fire. I can’t yet. I have no more busi- ness sense than a rabbit. I admit it. But for Dema, I’d have no more money today than I had then. I was paying my staff more than I was earning. But I liked that word “staff.” It seemed very important, even though I was headed straight for the poorhouse. Things underwent a change in “Hedda Hopper’s Hollywood.” Ger- trude Shanklin and Freddie Banker remained; then when Freddie went to war we took on Spec McClure, who’s been with me for 10 years, with the exception of three and a half years during which he helped to fight the war. The. ‘ same Toms, Dicks and Harrys got into my outer office but, except when Dema wasn’t there, they never reached me. She was saving my energy for work. She also was saving money for a rainy day. I was put on a weekly allowance of $25. It’s never been raised. I save' the checks until I have four before cashing them. I feel richer with $100 in my pocket- book. drive-in theatres have remained open the year round, closing only for ice and snow storms. The Bel- mont Drive-In in Dayton has also followed this practice. The ability of parents to dispense with a baby sitter and the bother of dressing up to attend a movie has led to a steady flow of business to these theatres during the winter months. Heaters attached to the car, which give ample comfort, are the secret of their operations. The development of “art” thea- tres in Cleveland, Columbus, Cin- cinnati, Dayton, Youngstown and certain college towns is another innovation. These theatres, devoted largely to the showing of foreign films, long considered anathema to movie patrons, have found a new audience. The drive-in in many localities has been used for church services at hours when it was not being used for entertainment. Theatre television has been em- ployed in several cities in the state to bring Certain prize fights to the huge screens. Sports writers in newspapers throughout the state have commented favorably on these sh o w i n g s. The Metropolitan Opera’s “Carmen” was televised to several theatres in Ohio. Interest in the movies was shown to be at a high pitch by the huge attendance at the “Hollywood at the Fair” exhibit at the State Fair in Columbus last summer. It is estimated that at least half of the 500,000 visitors to the Fair stood in line to inspect the props, sets and costumes from Hollywood. Paradoxically, television ac- counted for the success of one revival in the state last summer. “King Kong,” originally released in 1936, was reissued and given a tremendous advertising campaign on television. It did a phenomenal business, being held over in many places. Simultaneously it was shown in certain non-television areas with a singular lack of suc- cess. Theatre owners do face economic difficulties caused altogether by „ taxes. In addition to the taxes which every other business pays, the theatres are taxed 20% by the Federal government and in many cities an additional 3%. This unfair tax burden was dra- matically demonstrated recently at the Little Theatre in Columbus which stopped collecting admis- sions and asked its patrons to con- tribute what they thought the en- tertainment was worth. The experi- ment has been highly successful. Contributions have averaged al- most exactly what the net return to the theatre owner was when he sold tickets and' collected taxes. Attendance was tripled. Those who are shouting that the movie theatre is dead will have to find another corpse for the coffin they built. “Ivanhoe,” “Greatest Show on Earth,” Martin & Lewis and Marilyn Monroe have proven otherwise. Jersey Theatre TV’s ‘Eve’ on Times Sq. To whip up interest in its newly- installed large-screen TV, the Lee Theatre, Fort Lee, N.J., picked up NBC-TV’s description of the New Year’s Eve festivities in Times Square, N.Y. Special program is believed to mark the first time that a regularly scheduled TV airer had been thrown on a theatre screen. - Pickup was suggested to NBC- TV by Charles Moss, owner and operator of the Lee, and the net okayed it. No fees or payments were involved since the broadcast was taken directly off the air and no admission was charged. Actual program started at 11:50 p.m. and concluded at 12:10 a.m. Special event show followed shortly after the end of the thea- tre’s regular bill of “The Steel Trap” f20th) k and “Something for the Birds” (2bth).