Boxoffice (Jan-Mar 1939)

WITH less than two months remaining before the tentative date set for the annual Academy Awards banquet, at which winners of various cinematic kudos will be disclosed, Hollywood seems less excited than in previous years about what heretofore has been the film capital’s most significant annual social event, resulting in the ever-present railbirds posing the question as to whether the obvious loss of function which the Academy has undergone in the past year win detract proportionately from the importance of this organization’s Number One activity. Generally acknowledged is the fact that the Academy, in 1938, recorded what was very probably the least active year in its history, chiefly due to the steady growth of the Hollywood Guild and labor movement. Before the now firm entrenchment of the powerful Screen Actors Guild and such kindred talent organizations as the Screen Writers and Screen Directors Guilds and the Screen Playwrights, one of the Academy’s chief duties was that of mediator between producers and labor groups, and the enforcement of Academy working codes for these organizations. This function having been taken from the Academy, it early this year announced plans to reorganize as the industry’s “cultural clearing house.” In the reorganization process, however, a committee headed by W. S. Van Dyke and Frank Capra tangled with the Academy board, piloted by Darryl Zanuck, over the policies to be pursued in connection with labor disputes, resulting in Van Dyke and Capra offering to resign. Rather than cause such a schism, the Academy preferred to abandon the reorganizational project temporarily and, since that time, has been operating in status quo. Seemingly, however, the flurry has not prejudiced the Guilds against the Awards banquet, for the SAG, SDG and SWG have all appointed representatives to meet with Academy officers and begin the task of naming candidates for acting, directing, writing and production honors. Regardless of what future policies the Academy may adopt — economically, culturally or socially — to fit itself neatly into the industry picture, all factions will find it highly advisable to pool as glamorous and impressive as it has been in past years. Such a course is advantageous if for no other reason than because of the irrefutable fact that no one undertaking does so much, in the space of a year, to engender highly desirable and favorable publicity for, and public interest in, the making of motion pictures. From the Paramount praisery comes the announcement that "Sampson,” the studio’s "glamor mule,” had been insured for $150,000 to protect the company against any losses should he decide to kick his way out of his stall and run away again as he did several days ago. Which may prove, among other things. that one doesn’t have to be a jackass to get ahead in Hollywood — but it helps. Another publicity ten-strike resulted from the announcement that Grand National had signed Max Baer, ex-heavyweight boxing champion, to star in a series of six musical westerns — with Max not only donning spurs and chaps but singing range ballads as well — for which Ted Richmond rates a bow. According to the metropolitan press, “Auf Wiedersehen was said last night to Fraulein Leni Riefenstahl at a reception in the home of German Consul Georg Gyssling at 1801 North Curson Ave. Some 200 guests honored the German actress, who will return to Germany after a visit here.” And not a single Hollywoodian among the 200, which indicates pretty clearly the rapid approach toward imanimity of the film capital’s feelings concerning Herr Hitler and his playmates — and that for which they stand. Certain furrowed directorial brows which dotted the Hollywood horizon last week were possibly attributable to the news dispatch from Moscow which revealed that a 7iew system of wage scales tor directors, as well as scenarists, cinematographers and composers has just been adopted under which the Soviet’s megaphonists can receive a maximum bonus of only $10,000 per picture — in addition to their $240 to $400 monthly salaries. When considering the wibroken string of floppolos turiied out by some of the local overpaid art-for-art’s-sake celluloid pilots, the Arnerican film tycoons may conclude that the Russians are not so dumb. Bandits, Ballots and Banalities Banditry sounded the loudest note in Hollywood’s preview cacophony during the week, with four of the miscellaneous sextet presented for reviewers reactions dealing in the varied chicaneries of guntoters. By far the best of this lot, torn from the history of America’s pioneer days, was devoted to the most colorful outlaw of all times, Jesse James, in 20th Century-Fox’s picture of that name. Worthy of allocation in epical brackets is this celluloid masterpiece, into which the company obviously poured a wide-open pocketbook. In final analysis a western, it has been embellished by a near-perfect cast headed by Tyrone Power in the title role and the additional boxoffice appeal of Technicolor in all its glory. NunnaUy Johnson, who acted as associate producer, also deserves credit for concocting a rich and gripping original screenplay which humanizes, and consequently renders more profitable, the life of the famous desperado. « 41 Comparably as good, considering the vast difference in production cost, was RKO Radio’s “The Great Man Votes.” Warmly human in its comedy and sentiment, and sparkling in its satire, it proves again the Thespic adeptness of John Barrymore and can be typed as the unassuming sort of celluloid entertainment which, by wordof-mouth advertising and strong local exploitation, wiU account for itself well in profits and audience satisfaction. John Twist is credited with a skillful adaptation of Gordon Malherbe Hillman’s highly novel original, and Garson Kanin omitted no bets in his directorial accomplishment. 4: 4> 4( Run-of-the-mill, and on the weak side of the ledger at that, were Paramount’s “Disbarred” and Metro’s “Burn ’Em Up O’Connor.” The former is singularly uninspired in nearly every department and accomplishes but little either as entertainment or as a documentary expose of the shyster lawyer racket. Best contributions to the film’s imredeeming whole were a pair of capable performances by Gail Patrick and the competent Otto Kruger. None too well handled, “Bmn ’Em Up O’Connor” is, obviously, destined princi pally for consumption by juvenile speed fans, at which audiences its far-fetched but undeniably fast-moving story was apparently aimed. Dennis O’Keefe shows up well in a brash and energetic portrayal; but he and his supporting cast are completely bogged down by a ludicrous climax in which, as a race driver, he is called upon to drive and win without being able to see. Messrs. Milton Merlin and Byron Morgan concocted the script from which Edward Sedgwick directed. ♦ ♦ ♦ Two good westerns, standard in construction and undoubtedly slated for good reception, wound up the week’s preview quota, RKO Radio presenting George O’Brien in “Arizona Legion” and Monogram touting Tex Ritter in “Song of the Buckaroo.” O’Brien comes through in his accustomed two-fisted, virile style and is certain not only to satisfy his present fans, but to gain new ones. Bert Gilroy, as producer, supplied some eye-taking scenic backgrounds and incorporated splendid photography, while Oliver Drake (Continued on page 41) BOXOFFICE :: January 14, 1939 39