National Box Office Digest (Jan-Dec 1945)

6 BOX OFFICE DIGEST fDle Just Talks About Things That Are of Interest Did you ever expect to see the day when the head of a solidly entrenched, somewhat upique, industrial organization would tell his stockholders in an annual report that it might be well if efficient competition were in the field? . . . Well, that is what Dr. Herbert Kalmus, president and general manager of Technicolor, placed on the record in his report for the year ending December, 1944. * # * Said Dr. Kalmus : “The present demand for Technicolor would seem abundantly to warrant the doubling of the company’s plant and equipment, but such doubling of capacity would still only care for about one-third of the entire motion picture industry.” After stating that it is his belief that only lack of facilities and high costs as compared with black and white retard the industry from going all or nearly all to color, the Doctor swings his punch : * * * He says : “To provide for this is a very serious undertaking and poses the question whether Technicolor might not be healthier and happier if sound efficient competition arose to share with it the program of serving the industry with ever-improving color quality and steadily lowering costs.” . . . But as to the prospects, Dr. Kalmus saw fit to add : “As yet we have seen no commercial demonstration of any of these to make us hopeful that they will soon be available in quality, price, and volume to help us carry the load.” * * * That the load is heavy can easily be seen by the impressive financial figures that Dr. Kalmus presented to his stockholders. . . . We won’t bore you with the figures beyond stating that volume of work for 1944 was up to 161,979,084 feet over a record of 125,773,775 for 1943 and a figure that only registers in your mind when the report states that the 1932 figure was a measly 5,526,128 feet. . . . Profits do not show a proportionate gain because of taxes, but that is one of the problems of life in the same world with Hitler and Hirohito. . . . There was good news on the operations of the British Technicolor unit, despite war-time problems. . . . The report by Dr. Kalmus concludes with words of praise for the Technicolor personel, both at home and on the war fronts, and a particular nod to “Gerald F. Rackett, who in his capacity as vice president and assistant general manager has done a magnificent job in direct charge of Hollywood operations.” * * * Jogging around the studios in search of vitally thrilling items these past three weeks has been something of recklessness in the use of gas coupons. . . . The studio heads and the labs tell you that production is going right ahead, strike or no strike. . . . Don’t let ’em kid you. . . . Look at the production schedules of new pictures started, as printed by Hollywood Reporter and Daily Variety. . . . They shrink, and shrink, and next week they will be Lilliputian. . . . We did strike a few grape-vine items though. . . . Out at Universal we are told that the prolific writing team of Michael Fessier and Ernest Pagano has come through with another hit picture in “That’s the Spirit,” in which Jack Oakie is said to deliver the top performance of his career. * * * One thing that strikes us about this new team of writer-producers is their originality of ideas. Two of their recent productions, “The Merry Monahans” and “San Diego, I Love You,” fairly teemed with sparkle and originality. So much so that the London Daily Express, one of the most important newspapers in the world, proclaimed “The Merry Monahans” a lesson in smart musical picture-making that British studios would do well to follow. “If a British musical soon to be produced is as merry as the Monahans it will start a new age in British pictures.” High praise indeed from our cousins across the sea, and Michael Fessier and Ernest Pagano can take the bows. . . . Of course, both are veteran motion picture men who know every angle of making good boxoffice pictures. They are not only prolific hut versatile. “San Diego, I Love You” was a very funny comedy, which contained some of the biggest laugh-getting routines and situations we have seen in years. And, what is significant, is that FessierPagano are producing hits, using mostly Universal stock people, and not relying upon famous stars to carry the mail. Merely goes to show it can be done. * * * As we write these lines the studio strike continues, with injury to many and no good to any. . . .And prospects made a little darker by indications that the walk-out, originally caused only by jurisdictional strife over the status of 70 odd set dressers, is being taken more seriously by the more numerically powerful Carpenter’s Union. . . . International President Hutcheson is quoted as saying that his men will remain out to straighten their own problems in jurisdiction even if the Set Designers strike is settled. . . . To date there is little real worry about the situation affecting the flow of product to theatres. . . . The producers have a heavy backlog. . . . But urgently needed service films made for Uncle Sam are encountering hurdles, and numerous executive headaches are in the offing because of conflicting future commitments on top players. Some of the data in connection with celebration by 20th Century-Fox of a 30th Anniversary : The old Fox Company was incorporated in New York in 1915, William Fox and W. R. Sheehan being the tops. . . . The company’s first production, “Life’s Shop Window,” was made in Fort Lee, N. J., costing $14,000 and grossing $54,000. . . . Later Hollywood studios were opened with Sol Wurtzel in charge until Sheehan came west to expand the company’s activities. . . . Merger of the company with 20th Century, which Joe Schenck had established with Darryl Zanuck guiding production, occurred in 1932. . . . Anybody remember the furor when Zanuck walked out of Warners after an enviable record, following argument with the Freres on a matter of principle? * * * There was considerable advance interest in the first Hal Wallis independent production for Paramount, and there are now hearty congratulations following the preview of his “The Affairs of Susan,” apparently well set for big money success. . . . The anticipation interest turns to B. G. De Sylva getting along with “Stork Club” as the first of his independent contributions under the new Paramount set-up. . . . It’s a thousand to one bet that Buddy will knock ’em over for a loop, which makes speculation on the entire Paramount future very interesting — what with their own well-geared units operating smoothly under Henry Ginsberg guidance, De Sylva, Wallis and DeMille certainties for any annual program. * * * There is considerable West Coast interest in the appointment by Spyros Skouras of B. V. Sturdivant to the post of Latin American manager of National Theatre Amusement Company with headquarters in Mexico City. . . . For that matter, national interest. . . . One reason, “Sturdy’s” wide national acquaintance with men in every line of picture work as a result of two decades association with Spyros Skouras ; another, it is an indication that National Theatres, a 20th Century-Fox affiliate, has in mind more than the modestly stated “ambitious plans” for Latin American postwar expansion when they send an executive of Sturdivant’s calibre to lay the foundation. . . . His civic activity in San Francisco and his work on the War Loan drives are assurance that “Sturdy” is an able bodied representative of the best that is American, as well as knowing his theatre operation. . . . Richard Spier succeeds Sturdivant as division manager for the 60 Northern California Theatres according to General Manager George Bowser. . . . He steps into the new post after 12 years guiding Fox West Coast in Oakland.