Boxoffice (Jul-Sep 1938)

MF ADDITIONAL evidence was necessary to label as absolutely ludicrous the accusations of Edward Sullivan, special investigator for the House of Representatives’ Dies Committee, that the motion picture industry and “certain groups” within it are “rife with communism,” such collaboration was beautifully supplied by the testimony of Professor J. B. Matthews, who describes himself as a former leader in Russia’s “popular front” movement in this country. The learned professor named such movie stars as Shirley Temple, Clark Gable, Jimmy Cagney, Miriam Hopkins, Bette Davis and Robert Taylor as communist propagandists. Imagine Shirley Temple as a big, bad Red tossing pineapples around the 20th Century-Fox lot because she is not permitted to sing “The Third Internationale” in her next picture. And remember, professor, that it was Robert Taylor’s chest — not his chin — on which the Metro publicists grew the luxurious whiskers. A few more such ridiculous accusations anent the alleged leftist activities of motion picture personalities may convince the probing solons that they are following a trail across which the well-known red herring is being brandished. In view of his race, background and associations, it is difficult to understand why Scripter Morrie Ryskind should rush to deny membership in the Hollywood Anti-Nazi League after a metropolitan daily had erroneously listed him among its supporters. He could do worse than to belong to an organization that is, after all, fighting his battles. Anyone who doubts that the "Motion Pictures Are Your Best Entertainment” campaign can accomplish miracles should consider the choice oi Charles Skouras, head oi the Fox West Coast Theatres chain, to head a committee of independent exhibitors in formulating ways and means for southern California showmen to cooperate in the drive for better boxoffice patronage. Verily, the "lion and the lamb" parable — a la celluloid. Since the initial and enthusiastic announcement thereon, nothing has been heard about the activities of Robert D. Field, assistant professor of fine arts at Harvard University, who early this summer was reported en route to Hollywood for the purpose of amassing material for a series of lectures on motion pictures and their various phases, which, it was said, he intended to deliver at that university this fall. Dr. Field, it was announced, would spend most of the summer at the major film plants here, and his projected enterprise was greeted with unanimous applause from studio executives and educational leaders. There are no tangible signs that the cultural liaison has had any influence on the habits and thoughts of the film capital. The dollar sign still seems to carry more weight than the Phi Beta Kappa key; the stucco walls of the film foundries are still devoid of clinging ivy; Boris Morros has not exchanged his screaming multi-colored shirts for a cap and gown; and the screen scriveners are incorporating no more Greek into their scripts than has always been their habit — which, according to the fans who try to fathom the reasons for some of their pictures, is aplenty. Fred Fredericks draws preparation of 700 wigs for a Metro production as his first assignment on his new makeup contract. That’s getting to the top fast. Nomination for Hollywood's most modest man: Lou Ostrow, producer of M-G-M's highly successful and popular "Judge Hardy's Family” series, who has consistently refused to permit his name to be listed among the screen credits or mentioned in any publicity on the profitable pictures. Columbia Cops It was definitely Columbia week in preview circles, with two offerings from the Cohn compound easily copping first and second places among the octet of features making their press debut on local screens. First was Frank Capra's "You Can't Take It With You." Here again is a situation where comparisons are odious, since the celluloid version of the George S. Kaufman-Moss Hart stage play so completely outshone the others. Offering modern and cinematic proof of the king-can-dono-wrong theory, the ace director has again topped his previous efforts, which, as everyone knows, rated with the best of them. Of course, in this case, he had everything with which to work — a production setup to answer a megaphone wielder's dream. There was a story abounding in wholesome comedy, pathos, romance, homely philosophy and all of the other elements which go to make up superlative entertainment. There was a cast the like of which for ideal selections has seldom, if ever, been considered director-proof. But credit must go to the masterful touch of Capra for the blending of these rare and valuable ingredients into a celluloid ensemble which is sure to win itself a high niche among the most popular features of this or any other season; the while gamering plenty of shekels for the Cohn coffers and the tills of the exhibitors who show it. From top to bottom the cast is so perfect that it is manifestly unfair to single out a few for special praise. It is one of those unusual productions in which every player who has lines is a star in his or her own right. Place money goes to Columbia's ”1 Am the Law,” head and shoulders the topper among pictures in the current gangbusting cycle, with Edward G. Robinson contributing one of his best cinematic performances as a teacher of law who puts his theories into practice. Director Alexander Hall and Scenarist Jo Swerling have crammed the offering with so many unusual story facets and twists that it is assured of widespread acceptance and profits. * * * Also to be mentioned: RKO Radio's release of the Sol Lesser production, “Breaking the Ice,” in which Master Bobby Breen is presented in a quaint and unusual story, and serving as the debut of a captivating 5-year-old moppet, Irene Dare, billed as "The World's Youngest Champion Ice Skater" . . . 20th Century-Fox's "Road Demons,” a sizzling action story of daredevil automobile racers, with some breathtaking and authentic action shots of the Indianapolis Speedway races as the standout . . . Republic's "Tenth Avenue Kid," another racketbuster, given creditable production and direction and also introducing a competent film youngster in Tommy Ryan . . . Universal's "Freshman Year," first in its collegiate series and not too auspicious a start. Production is amateurish, direction is awkward and the cast has little drawing power . . . RKO Radio's "Fugitives for a Night,” a behind-the-scenes-in-Hollywood yarn serving as a buildup for Frank Albertson, recently contracted player, in the lead. It will serve as a programmer . . . And 20th Century-Fox's "While New York Sleeps,” second in its “Roving Reporter" series and okay as a mystery-action feature in every respect. BOXOFFICE :: August 27, 1938 33