Boxoffice (Jul-Sep 1939)

URTHER consideration of the avowed war-time policies of the major studios reveals inconsistencies in addition to those reflected by the general attitude that all unnecessary economies can be effected through the elimination of waste and nonessential expenses — and without curtailment of production budgets. One such paradox possibly lurks in the tendency to shelve pictures which, prior to the actual start of the European conflict, were touted as ranking entries in Hollywood’s widely-acclaimed, but always unofficial, Americanization campaign. Typical is “Underground,” story dealing with the anti-Nazi movement within Germany itself, which was to be made as a Warner contribution to the righteous sell-Americato-Americans cycle. The necessity of keeping Hollywood product strictly neutral is given as the reason for scuttling features of this type. To challenge that reason, to propoimd a thought that the cloak of strict neutrality may conceivably cover an occasional absurdity, is undoubtedly dangerous procedure, in view of the universal feeling as regards this nation’s unbending need to remain neutral. Nevertheless, the situation does pose the following question: In making such pictures as “Confessions of a Nazi Spy,” “Blockade,” and others of comparable theme, the producers were loud and emphatic in their declarations that the documents were not directed against any nation or group, but, rather, were designed to bring home forcefully to Americans their countless advantages under our democratic government as com pared to the isms-ridden peoples of other countries. And, more importantly, to combat the spread of those dangerous isms in the United States. Has the outbreak of the European war — long a foregone conclusion — eliminated the need for such lessons of patriotism and appreciation for Americans? Has it lessened the threatened spread of undemocratic doctrines within this country’s borders? There are many and obvious arguments which can be offered in support of the theory that the war has accentuated, rather than diminished, the need for celluloid preachments in the Americanization vein; that the interests of national neutrality can best be served by continuing to enlighten the citizenry upon the dangers of foreign principles of government and those who advocate and propagandize them in our midst. After all. Hitler is still Hitler, Nazism is still Nazism, Communism is still Communism and the fact that they have been thrown up for grabs on Europe’s battlefields should not alter the justification for the so-called Americanization campaign if it was justified in the first place. Warner publicists boast that "A Passionate Shepherd to His Love/' composed by Erich Wolfgang Korngold for “The Private Lives of Elizabeth and Essex/' will be published by Harms, Inc. Which should, at least, cause a revival of the perennial cycle of sheep-herder stories. And it was the adjective agitators in the Warner praisery who conceived the brilliant idea of sending out telegraphic invitations to the preview of “Espionage Agent” in code — on the hottest day in 22 years. David O. Selznick is reverted editing 45 minutes of footage from the nearly-fourhours-long “Gone With the Wind.” He might salvage some of the many dollars the clippings represent by reassembling them for a “B” release yclept “Gone With the Zephyr.” Or how about “Gone With Bill Hebert?” Universal has changed the title of "Has Anybody Here Seen Kelly?'' to “The Road to Romance." Apparently nobody at the studio was able to locate Kelly. Had it been Cohen, Cohn, Cahane, Conn or Cowan, a title change might have been saved. Musical, Maritime and Moppets Metro and Paramount finished in a dead heat in the week’s preview sweepstakes, each studio having contributed two of the four pictures which finished in the money, according to a consensus of critical handicap. Leo’s offering in the lighter vein was “Babes in Arms,” an unqualified hit co-starring Mickey Rooney and Judy Garland, which is almost certain to launch another cycle of musical extravaganzas and roll up substantial grosses in the bargain. Arthur Freed’s first production for the Culver City plant, it is a skillful, tasteful screen adaptation of the Richard Rodgers-Lorenz Hart stage success, invested with every proven showmanship element. The screenplay by Kay Van Riper and Jack McGowan is a masterful piece of writing in which a number of tuneful musical numbers were effectively interpolated. Director Busby Berkeley marshaled his technical and creative talent well and maintained a fast, smooth pace throughout. The lusty, salty tang of the sea characterized another pair of pre-release screenings. Paramount’s “Rulers of the Sea,” produced and directed by Prank Lloyd as his last for the studio, bears evidence of such painstaking care in research, prepara tion and production on Lloyd’s part that it is assured of a berth among the season’s finer and more impressive creations. No little of its general excellence is attributable to the magnificently-dialogued original screenplay by Talbot Jennings, depicting the victory of steam over sail in the evolution of navigation, which gives a first-rate cast, headed by Douglas Fairbanks jr. and WiU Fyffe, ample opportunity to display its acting prowess. Metro’s sea-going entry was “Thunder Afloat,” a thrilling saga of the Splinter Fleet which defended America’s shores from German submarine raids during the last World War. Produced by J. Walter Ruben on a scale that would guarantee Through a typographical error, this department's comment on Metro's “Blackmail" in the September IG issue of BOXOFFICE gave associate producer credit to Albert Leroy. Credit should have been given to Albert E. Levoy, who functioned as John W. Considine jr.'s aide on the Edward G. Robinson starrer. enthusiastic acceptance under any conditions, its money-making possibilities are increased at least two-fold through the repetition of history as reflected in headlines dealing with the present European War and the resumption of U-boat harassment by the Nazis. Wallace Beery, heading the cast, has never done better work. George B. Seitz’s direction takes full advantage of the script by Wells Root and Commander Harvey Haislip, based on an original by Haislip and Ralph Wheelwright (of Leo’s publicity staff, incidentally), which has the authentic atmospheric ring throughout. Fourth in the quartette of top-bracket offerings was Paramount’s “What a Life,” which brings Henry Aldrich, the typical American boy of stage and radio fame, to the screen in a warm, richly human and vastly entertaining vehicle. Despite its unpretentious production treatment, boasting no multi-million-dollar budget and containing no Hollywood glamour, it is such a natural, true-to-life picture of adolescent youth that man, woman and child alike are sure to acclaim it a surprise hit. Jay Theodore Reed, who produced and directed, scores solidly in both depart( Continued on page 47) BOXOFFICE :: September 23, 1939 43