Box office digest (Jan-Dec 1945)

4 BOX OFFICE DIGEST JAe MiqMiqMtA: Covers the Picture News Front in a Quick Glance Entering the new year is just as good a time as any to pick up the pieces on some neglected chores of the old one. ... We think, for example, that it is time someone put into print a word of praise for the year’s activities of Arch Reeve and his publicity aides at the office of the Mition Picture Pioducers Association in connection with the industry’s part in the war effort. . . . Without fanfare about themselves, Reeve and aides have done an industrial public relations job that is tops in such work. . . . Bulletins, bulletins, and more bulletins — all newsy, crisp, and welcome to the desk of any editor. . . . What the stars are doing in camps, hospitals, and overseas. . . . What all the industry is doing in War Bond drives, for the Community Chest, the March of Dimes. . . . What important figures — Army, Government, international— do and say when they come to Hollywood for contact with the picture factories. . . . All this and more, is given complete coverage by Arch Reeve, who functions somewhat in the manner of a city editor himself. . . . And so we say a belated word of recognition, and sincere tribute to a good newsman doing a good news job plus. . . . That “plus” the high regard he has gained for this industry’s intelligence in public relations. . . . Incidentally, about the only time the Hays units get any mention is when some editorial writer is short of something to talk about and digs into the file for the old lines calling for action about something or other in a roundhouse way that proposes no sort of action. ★ ★ ★ In passing there are other thoughts about the year just concluded that are worth a brief mention. . . . We are glad that through the Joe Pasternak magic the screen has rediscovered Jimmy Durante. . . . Jimmy had to go all around the hard way, New York and back, to make us realize what a tremendous entertainment asset had previously been mishandled, and finally almost neglected. . . . Glad also to recall the Bob Burns that appears in International’s “Belle of the Yukon,” and certain that history will again repeat itself if he continues to get the handling Bill Seiter’s production offered. . . . And while speaking of our veterans, pause can be taken to record such good items of the year as Sonny Tufts, whom Mark Sandrich discovered and magnified into one of the hot marquee bets. . . . Van Johnson is another gift of 1944. . . . And there are a number of promising youthful girl players who will bloom in 1945. . . . Too many, in fact, to attempt a listing right here. ★ ★ ★ 1944 also saw the birth — and what a lusty one — of the new Bill Goetz-Leo Spitz Inter national organization. . . . Something which this industry will always need to keep it fully alive and progressing — fresh ambitions, backed by solid experience, and with spots beyond the horizon for planning. . . . But new ventures are always fraught with danger in any part of the show world. . . . Shall a company’s first offering be this, or that? . . . Will it be lucky enough to put together the clicking combination of vehicle, star and director? . . . Will it pick a theme that looks hot only to prove a dud when the release date arrives? . . . Then comes the $64,000,000 question. ... If the company hits with its first offering, can it keep up the pace? . . . Or will there be an awful let-down? . . . The problems present in creating screen entertainment are pretty well exemplified by the years — or is it decades — through which a loosely knit conglomeration like United Artists has struggled to achieve a consistency in volume and quality. . . . And is still not quite on the beam. . . . More praise then to two gentlemen, and we mean the word, William Goetz and Leo Spitz. ★ ★ ★ Another Highlight of 1944 was Harry Brand’s pre-production publicity barrage on “Wilson.” . . . Pre-production and during production. . . . Lacking the cinch elements of glamour gals, music, or action thrills, Darryl Zanuck’s magnificent gamble was not an automatic, and the curiosity, word-ofmouth, that resulted from the Westwood Hills outpourings, the magazine tie-ups, the many and various maneuvers, were something for the book. ★ ★ ★ Still glancing backward, with half an eye on 1945, we should record the progress made by Technicolor during the past year. . . . Both in the technical aspects of their contribution to the industry, but also in the solidity of the position in showmanship that Technicolor has achieved. . . . Even industry prophets without a crystal ball will now tell you with solemn assurance that when the war is over the screen will be practically all Technicolor. . . . Back of this feeling — which may or may not come true in the rosiest of proportions, since black and white is still Please Help Uncle Sam by Sending Us Your Zone Number. something not to be shrugged off completely — there must have been fine service, ambitious research, behind Technicolor’s association with the picture creators. . . . And we have hints that there are surprises for 1945. ★ ★ ★ 1944 cannot pass without due recognition of the remarkable progress made by another infant, PRC, and the consistent growth in strength of the Monogram outfit. . . . For many years it has been the custom of our more supercilious writers to announce that the picture going public was ready to concentrate on a diet of supers, and the bells were ready to toll for the lowly independent. . . . Forgetting that it was as independents, state-righting, that such organizations as Warners started. . . . Forgetting that Louis B. Mayer, and more than we can mention offhand, edged into the production picture by way of franchise selling of their product. . . . Forgetting that independents must have theater customers to live, that those theaters must have ticket-buyers, and Q.E.D., the ticket-buyers for their product must be a fact and not a fancy. . . . Forgetting also the great contribution the independents have made to the encouraging of new talent in every line, technical, writing, directing and acting. . . . To get back to PRC — this unit’s surgence emphasizes the greatest asset of the independent — ideas. ... It has been on its toes, as reward came it has increased budgets, it is having a great present and will have a greater future. . . . Monogram, under Ray Johnson and Trem Carr guidance, long ago proved that. . . . And continues a living proof. ★ ★ ★ 1 944 should not pass by without a word of tribute to unsung heroes on that New York committee of advertising and publicity boys who have done such a great job for the War Loan Drives. . . . The tops, Charles Skouras, Bob O’Donnell, Harry Brandt, John Hertz, Jr. deserve such praise as they have received for their dynamic driving force. . . . But our thoughts go to such as Sam Shain, assistant to Spyrous Skouras, who sparked the method of industry publicity in the Fourth War Loan Drive, to Phil Berg, just finishing swamping editorial desks with Sixth War Loan blasts, to many such as Si Seadler, Glenn Alveine, and all the advertising directors who formed the effective steering committees. . . . Lhisung heroes they will have to remain, because that is the way they have functioned, and The Highlighter hopes he will not be accused of slighting any by picking out the names that have been contacts. . . . It’s a long time since Your Highlighter has been back on Broadway, boys, but say hello to a few of the spots for me.