Boxoffice (Jan-Mar 1941)

jyjARK Twain’s classic observation, “everybody talks about the weather but nobody ever does anything about it,” might also be applied to that nebulous industry panacea — New Blood. During the past week, however, came a demonstration that Hollywood, probably in spite of itself, has apparently done something about it. The “something” was reflected in two new features shown to the reviewing press. They are RKO Radio’s “Scattergood Baines” and Columbia’s “Adam Had Pour Sons.” Each is the initial productional effort of a young fellow with virtually no previous experience in motion picture making. Each, in its respective budget class, is a highly commendable accomplishment, for which any more-seasoned, established and high-salaried production executive would be happy and proud to take bows. “Scattergood Baines” is brought to the screen by Jerrold T. Brandt, son of the late Joe Brandt, former Columbia executive. Young Brandt, now only 27, incorporated Pyramid Pictures last July; went out and paid a cold $100,000 for the rights to 104 of Clarence Budington Kelland’s “Scattergood” stories; and with those under his arm set a three-year deal to produce three films yearly for RKO Radio. It was his first sally into the production field, his previous experience in motion pictures having been limited to work as a film cutter. One Robert Sherwood produced the Columbia film. He, 29 years old, had been a jack-of-all trades before deciding to take a fling at Hollywood — having pursued such professions as radio announcing, stage acting, singing and even playing the oboe — on which instrument he became proficient enough to last a season with the Los Angeles Philharmonic Orchestra. Having secured an option on what he considered promising film material, Charles Bonner’s novel, “Legacy,” Sherwood trekked to New York and diligently applied himself until he secured financial backing, in the process of which his earnestness apparently overcame any qualms his backer might have entertained because of Sherwood’s complete inexperience in picture production. Then he went out and signed Warner Baxter for the male lead, succeeded in borrowing Ingrid Bergman from David O. Selznick for the top feminine role, and set a releasing deal with Columbia. When a new producer is born in Hollywood, which generally admits its constant and crying need for new blood transfusions, it is noteworthy. When a pair of them put in an appearance in the same week it is nothing short of an event. Especially is it an event worthy of the attention of the graybeards who delight in creating the impression, probably to help in justifying their princely salaries, that nothing but a rare blend of genius and nerve-racking experience can make a producer. More power to young Messers. Brandt and Sherwood, and may the near future uncover more like them. An interesting sidelight in connection with the Brandt film is the immediate and obvious conclusion that well-made motion pictures are still far superior to the radio in capturing the true atmosphere and character of a fictional figure. Countless thousands of readers are familiar with the down-to-earth philosophies and shrewd Yankee operations of Kelland's Sage of Coldriver. Guy Kibbee's interpretation of "Scattergood" comes miles closer to fitting the popular conception of the character, his associates and his environment, than does the radio program based on the same stories. An ominous, status quo silence has descended upon the William Randolph Hearst-Orson Welles controvery concerning whether or not the boy wonder’s quadruple-threat production, “Citizen Kane,” is to be released and, if so, when and in what form. Contending that the film story parallels his own life, and in nonetoo-flattering vein, the publisher demanded that it be shelved. The ticklish problem was dumped into the lap of George J. Schaefer, RKO Radio president, and repeated promises have been forthcoming during the past few weeks that a final decision would be made and announced by him following huddles with board mem bers in New York. The pow-wows have come and gone, Mr. Schaefer is now in Hollywood, where he announces that his stay on the coast is for an indefinite period and that, while here, he will take complete charge of the studio. But there is still no word about “Citizen Kane,” when it will be previewed and when, if ever, it will be released. In the meantime, “Look,” picture magazine edited by the Clan of Cowles, itself no small potatoes in the publishing world, breaks forth with three pages of action stills from the production and a review of the picture. Which brought a confession from the artful dodgers in RKO Radio’s studio publicity department that “Citizen Kane” has been shown to a handful of favored reviewers in addition to Louella O. Parsons, Hearst’s motion picture editor, who demanded to see it many weeks ago so she could decide whether or not it did her boss wrong. The “Look” layout and review certainly belies the glib statements from studio spokesmen that the Welles production “is not a story of Hearst’s life but, rather, a composite of the careers of several prominent fourth-estaters.” It can do nothing but add further fuel to the fires, assuming that the Sultan of San Simeon was not sufficiently burned before its appearance. Perry Lieber’s department passes the buck to Herbert Drake, Welles’ personal publicist and currently the fattest fly in Lieber’s ointment. Regardless of where the blame falls for woeful and continued mishandling of public and trade relations in the deplorable situation, it becomes increasingly obvious that RKO Radio has a celluloid bear by the tail, with every indication that further procrastination, equivocation and buckpassing will add to the bruin’s ferocity. The press, the trade and the public are entitled to know what is going to happen. Nostalgic, Neophytes, Nags The long dry spell which had Hollywood reviewers talking to themselves came to a sudden end with six pictures combining to bring the weekly preview catalogue up to normal. Four were topnotch offerings in their respective fields and two of them were debuted with an accompaniment of free viands and vitamins. In “The Strawberry Blonde” Warner expertly blends a full measure of laughs, a few tears, a large helping of romance and a dash of bittersweet nostalgia against authentic backgrounds, atmosphere and music of the Gay Nineties. Compounded as a result is a story which, in the hands of a first-rate cast, is a film treat for which great popularity and profit may be confidently predicted. The film is quite a triumph for the Cagneys; William, of that family, having turned in a topnotch job as producer, his second assignment, while James, sharing star billing with Olivia de Havilland and Rita Hayworth, grabs all the acting honors in a part which fits his talents like a pair of hand-made boots, even though his co-stars score effectively. The well-typed supporting cast, headed by Alan Hale and Jack Carson, adds its sizeable bit to the excellence of the entry. Julius J. and Philip G. Epstein concocted the script, using as its basis a play by James Hagan. To his growing list of directorial successes, Raoul Walsh adds another winner with his top-flight piloting job. “Adam Had Four Sons,” Robert Sherwood’s first production, being released by Columbia, is a finely-made and impressive vehicle into which has been incorporated enough entertainment elements to indicate profitable patronage. The feature may require smart merchandising to garner the grosses to which it is entitled in its first runs, but when once it begins to benefit from the word-of-mouth acclaim that obvious merit will engender, it should hit its (Continued on next page) BOXOFFICE : ; February 22, 1941 31