Boxoffice (Jul-Sep 1938)

Studio Player Tiffs Dominate Commercial Film Outlook May Be Bright But Present Is Quiescent A survey of the commercial-advertising film production field here has brought forth conflicting indications as to the future of this phase of picture-making for the coming season. Findings along one line, through intimations by the J. Walter Thompson Advertising Agency that it may set up an advertising film department in Hollywood to handle an expected increase in demand for this advertising medium, point to the possibility that commercial picture production— a $15,000,000 industry in 1937 — according to one estimate — will make rapid strides in the film capital during 1938-39. However, a checkup of the present activities of several commercial film outfits which have been long-established here shows little in the way of promising developments for the new season. During a short visit to his agency’s Hollywood offices, Stanley Resor, president of the Thompson organization, made it known that an increasing trend toward commercial films for advertising purposes by the agency’s clients has necessitated the establishment of a separate unit within the agency to handle such accounts. One of the purposes behind Resor’s visit' was a brief survey of the local production market, the executive neither denying nor affirming that the agency may establish a commercial-film branch here. At present headquartering in New York, the Thompson commercial film department is under the guidance of Fred Fidler, who accompanied Resor here. It was Resor who cited $15,000,000 as the amount spent in commercial film production last year, the advertising executive also going on record with the prediction that the theatregoing public’s preju "Propaganda" Curb Rumor Is Scouted Reports that the Motion Picture Producers Ass’n is formulating an amendment to its code of practice whereby producers in the future will be prohibited from manufacturing films containing controversial subject matter of a political or propaganda nature were scouted on two fronts here this week. Hints that the ban would be aimed at such producers as Walter Wanger and his recent and widely-discussed “Blockade” were quashed definitely by a spokesman for the United Artists film maker and were pushed even further into the limbo by the Hays office itself, which, through a local representative, declared that such a prohibition has never been and, with little doubt, never will be considered. Wanger’s spokesman pointed out that dice against advertising matter on the screen will disappear completely with the gradual improvement in content and production qualities of the commercial subjects. The Thompson agency was one of the pioneers in the handling of commercial film accounts for advertising sponsorship, Resor pointed out, and predicted that its move to centralize the activities of its advertising film unit will be followed by others of the nation’s leading advertising agencies. At the time, however, a survey of the commercial production picture reveals that but one of the several units here is actively engaged in making films at the present time. This is the Dowling-Brownell Co., headquartering at General Service studios and currently filming a fourreeler for a major oil company. In the past year the company turned out “Timber Is a Crop,” a four-reel advertising film, for the Weyerhauser Timber Co. in Washington, several two-reelers for other accounts and a one-reel version, in color, of the “Timber” film. Jam Handy, accepted as the largest commercial film company, has pulled up stakes and left Hollywood to retreat to its Detroit headquarters. With no commitments on the line, the corporation relinquished its shooting space at Talisman Studios early in the summer and in all probability will not return until enough production chores are lined up to warrant the re-establishment of a headquarters here. Two other companies — Wilding Pictures, coast unit of a Detroit company, and Roland Reed Productions — are headquartered at Selznick International, but both are, and have been for several months, inactive. Wanger himself is completely ignoring the situation and is going ahead with his previously announced production plans for the 1938-39 season; that Wanger’s “Blockade” was absolutely impartial as to political leanings and was intended to be characterized and accepted solely as a preachment against the slaughter of innocents in war time; and that the producer himself is neither a radical nor a reactionary, but primarily a film producer interested in manufacturing pictures which will net him satisfactory financial returns. “The Hays office will never attempt such a ban,” an official of that organization told Boxoffice. “The code doesn’t have anything to do with politics or propaganda and an amendment to it ruling out such films hasn’t even reached the conversational stages.” Readies "The Women" As a probable vehicle for Norma Shearer after “Idiot’s Delight,” Metro is lining up “The Women,” film rights to which it acquired some time ago. With the eyes of Hollywood laborites turned toward New York and the progress of the basic agreement conferences underway there during the week, studio-player contract tiffs and personnel changes among executives and talent occupied the limelight insofar as local staff activities were concerned. Feuds between two players and their respective studios came into the open when Hal Roach served notice on Stan Laurel, of the Laurel-Hardy comedy team, that his name had been removed from the contract list, while George Raft was placed on suspension by Paramount. The Roach-Laurel break came after the comedian had been suspended by the producer on charges that he failed to report to the studio when needed for re-takes on “Blockheads,” current Laurel-Hardy effort. Roach contended that Laurel is guilty of breach of contract. During the battle, studio scriveners are marking time on the preparation of the script for the next projected Laurel-Hardy feature, awaiting the outcome of the latest LaurelRoach tangle. Raft was suspended for refusing to report for work in “St. Louis Blues,” which had been set as his next Paramount starrer, on the grounds that the role assigned him was not suitable to his talents. Paramount executives declared the player’s contract does not specify Raft’s right to approve scripts and lost no time in selecting Lloyd Nolan to replace him in the part. The picture went before the cameras on Monday with no delay. The Marathon Street lot also came to the parting of the ways with two other personalities. Randolph Scott secured a release from the balance of his acting contract to accept a featured role in 20th Century-Fox’s “Jesse James,” though his Paramount pact had another year to run. Producer-Director-Writer Andrew Stone also leaves the lot when his current assignment, “Say It in French,” is completed. He will have turned out two productions for the company. Twentieth Century-Fox accepted the resignation of Samuel G. Engel, associate producer, after an eight-year association with Darryl Zanuck. His last assignment was “Gateway.” Leaving the Warner acting roster is Dick Foran, featured player, whose option was not lifted when it came due this week. Continuing to shave its contract list, RKO Radio will bid adieu to three stock players within the next few weeks. Vicki Lester, Wliliam Carson and Paul Guilfoyle are slated .to leave the lot when their respective contracts expire. Sedgwick Two-Way Pact Metro has signed Edward Sedgwick on a writer-director ticket to work with Producer Harry Rapf on a series of outdoor action melodramas which will star Dennis O’Keefe, currently in “Vacation From Love.” 78 BOXOFFICE ;: August 20, 1938