The box office check-up of 1935 (1936)

Sutherland, "Mississippi" and "Diamond Jim." Many of these pictures were at the top of the Champion list for two months. The following directors on the list turned in one big money winner each. Rowland V. Lee contributed "Count of Monte Cristo"; George Nichols, Jr., directed "Anne of Green Gables"; Frank Capra, "Broadway Bill"; Richard Wallace, "The Little Minister"; John Blystone, "The County Chairman"; George Cukor, "David Copperfield"; Robert Florey, "Woman in Red"; Harold Young, "Scarlet Pimpernel"; Alfred E. Green, "Sweet Music"; William Wyler, "The Good Fairy"; William Seiter, "Roberta"; Dick Rosson, "West Point of the Air"; William Wellman, "Call of the Wild"; Howard Hawks, "Barbary Coast"; Chester Franklin, "Sequoia"; George Marshall, "Life Begins at 40"; Busby Berkeley, "Golddiggers of 1935"; James Whale, "Bride of Frankenstein"; William Keighley, "G-Men"; Alexander Hall, "Goin' to Town"; John Robertson, "Our Little Girl"; E. H. Griffith, "No More Ladies"; Mervyn LeRoy, "Oil for the Lamps of China"; Rouben Mamoulian, "Becky Sharp"; James Tinling, "Under the Pampas Moon"; J. Walter Ruben, "Public Hero No. I"; Frank Tuttle, "The Glass Key"; Phillip Moeller, "Break of Hearts"; Paul Gziner, "Escape Me Never" (foreign); Louis Friedlander, "The Raven"; Tay Garnett, "China Seas" and George Stevens, "Alice Adams." THE EXHIBITOR WRITES HIS OWN REVIEWS [Continued from page 73] sons will enjoy." Of Douglas Fairbanks' "Headin' South," a contributor said: "Plenty of action; the kind he is best liked in here." But as against these days of double featuring— and sometimes triple billing — a showman commented on Norma Talmadge's "De Luxe Annie": "Could have been shorter, as a seven-reel picture makes a long show when you run a one or tworeel comedy with it." To quote from all the letters of exhibitors who say they are benefiting directly from reading the reports in the department would indeed require many columns of type. "These reports are valuable," "a lot of benefit," "we have particularly enjoyed and profited from the reports," "I think this section alone is worth the price," "it is a pleasure to join in," "very helpful," "I don't know what I would do without it," "the most important department," "a fine feature," "it means a lot to me" — and so on, the comment reads. The function and conduct of the depart ment are summed up finally in these words from Charles S. Edwards of the Queen theatre at Pilot Point, Texas: 'What the Picture Did for Me' belongs to us, and is the only place in the world we can say what we want to, and wherein we can tell the truth as we see it." BRITISH PRODUCTIONS DIGS in for SIEGE [Continued from page 116] studio, has the equipment and the experience to make bigger pictures whenever they are wanted. Universal has an affiliation with a British production unit which takes it also out of the "just quota" class. Paramount, Radio and Columbia, alone of the major companies, lack production affiliations which can, at need, be used to make pictures for America. Alternative to the policy of big picture production by American companies in England is the establishment of a liaison between these companies and the vast number of new independent British production enterprises. These companies have come into existence with resources which can be guaged by the lavish scale on which they ACI R E C K CO T ° R A »N> T A 1 Ht L E \ Y O F TWO CIT IES BOX OFFICE CHAMPIONS: M-G-M h E L L E 5 E L o w RED HEADED WOMAN V 1 V A V 1 L . L A THE BOX OFFICE CHECK-UP OF 1935 145