Boxoffice (Jul-Sep 1947)

N MORE counts than Rep. J. Parnell Thomas can shake a stick ai, the motion picture industry’s mercurial interest should seriously dwell on the opening in Washington, D. C., of Charles Chaplin’s current opus, “Monsieur Verdoux.’’ Reflected in that wisely and widely ballyhooed debut were many elements — courage, subtle sardonicism and, above all, superior showmanship. Sufficiently to stress the lastnamed, a bit of chronological background might help. When United Artists Owner-Producer Chaplin completed his new-departure picture about a charming and diabolical French Bluebeard, and after a none-too-successful trial run at New York’s Broadway Theatre, he obviously concluded that the film, his first in nearly a decade, was cryingly in need of expert publicizing and exploitation. The offering had engendered varied critical reactions: and Chaplin’s press and public relations— never too sagaciously nurtured — had been subjected to a considerable beating during the many years between pictures. So the producer brought from his shortlived retirement Russell Birdwell, free-lance press agent de luxe, whose successful experience with somewhat similar situations and properties was far from limited. Birdwell and his crew moved in. Their kickoff gesture was an effort to establish a provocative apothegm — “Chaplin Changes— Can You.” That aphorism was accorded some slight attention by the press and public; but whether or not it was paving the way for ticket sales for “’Verdoux” is a matter of conjecture. At about that point, Birdwell and his aides were handed an opportunity to snatch some space on behalf of Chaplin because of printed reports that Chaplin was to be subpoenaed by the house of un-American activities committee when that body resumed its loudly-heralded and prolonged probe into alleged Commmiistic activities in the motion picture industry. The threatened subpoena never developed, despite Chaplin’s shouts from housetops that he was willing — yea, eager — to accept the summons. In fact, up to this writing the producer has not been officially called by the Red-hunters. Thus the slight flurry caused by Birdwell’s efforts to precipitate a Chaplin-Thomas public duel was becalmed — long before “Verdoux” approached a general release date and, again, before it could have much bearing on the sale of tickets. Then came the Birdwelllan big idea. Why not give the film a new launching in Washington, D. C., right under the noses of the Thomas committee and simultaneously with resumption of its witch hunt? Gradwell Sears, UA president, was contacted, and enthusiastically approved the plan, promising to sign Immediately a Washington showcase for the Ironical booking. Within 24 hours, the lush Capitol Theatre was on the dotted line and the date was set as September 25 — the day following that charted for reopening the committee probe. In announcing the engagement, Chaplin— via Birdwell’s busy typewriter — tossed a few venomous needles in the direction of Representative Thomas and his committeemen: “It is no ironical coincidence that my comedy also opens in the nation’s capital less than 24 hours after Rep J. Parnell Thomas begins his probe into asserted Communistic film activities . . . Also, if I am summoned to make personal appearances in the daytime in the House of Representatives build ing I might just as well make a few such appearances in the evenings with my picture." And. in a subsequent wire to Representative Thomas and all other members of his committee, “ ... It would indeed be a pleasure to have you as my guest on opening day.” Next in the fast-moving plans camera hurdle which proved to be just so much more grist for the Birdwell publicity mill. Carter Barron, managing director of the Capitol Theatre, opining that the timing of the opening might be in doubtful taste, cancelled the date. Birdwell and UA executives lost no time in signing a substitute setup, this time five houses — the Pix, Apex, Naylor, Senator and Atlas — “offering greater seating capacity and more convenience to Washingtonians.” The suggestion of bad timing and doubtful taste which led to the Capitol cancellation furnished the crossbow for more barbed arrows from Chaplin to Representative Thomas, et al: 'Chaplin had no quarrel with the Thomas committee over using his name to publicize the anti-Red probe, so Chanlin has the right to publicize himself at any time and in any way he chooses . . . the picture business as well as government should be based on showmanship and a sense of humor.” By this time the controversy was in full cry. It became nation-wide news copy. Front pages of Washington’s dailies blazoned the yarn, and it was carried fo’' con'i^f-^nble wordage by the wire services. Birdwell delved into the tempest, now having outgrown its teacup, for a completely new advertising and publicity motif and came up with another slogan — “The Picture That Couldn’t Be Stopped.” UA President Sears reoorted he was arranging a 500-theatre onening date to follow the Washington run, that “an avalanche of booking requests had followed the front-page baptism of ‘Verdoux.’ ” >■ Not to be ignored is the fact that the Chaplin-Birdwell coup rendered the entire industry a sizable service by tossing right back at Representative Thomas and other chronic Hollywood-baiters a brimming dose of their own medicine; thereby demonstrating that occasionally motion picture folk can muster sufficient fortitude to fight fire with fire, heckling with heckling. But most noteworthy in the situation is its manifestation of super-smart showmanship at a time when everyone is prattling about the pressing need therefor if the trade hopes to work its way out of the difficulties imnosed by disappearing foreign markets. The brilliantly-conceived Washington debut of “Verdoux” and the space-commanding battle-royal it started should increase In incalculable amounts its boxoffice takes— not only in initial runs, while the controversy is still torrid, but down the line to all bookings. Nor, in reviewing the most recent Birdwellian master stroke, can one overlook the highlights of impressive and extensive past performances. It must be recalled that the same Birdwell was in charge of David O. Pelznick’s “Gone With the Wind." during the nrerelease campaign on that greatest of all grossers. And that his was also the guiding hand which started Howard Hughes’ “The Outlaw,” a mediocre parcel of entertainment at best, on its battle-scarred exhibition career, which seems to have a firm grip upon claims to the second-best revenuegrabber in film history. Doris Day Is Named Legion Girl of Year HOLL’YWOOD — A pair of Warner Bros, stars were on hand to lend glamour to the state convention of the American Legion when it opened with a fireworks display at the Los Angeles Coliseum. Wayne Morris, war veteran with several decorations, addressed the opening session, while Janis Paige was selected by the Legion to assist Lieutenant Governor Goodwin Knight of California presiding over the ceremonies. * Doris Day, actress under contract to Michael Curtiz Productions, was named “Girl of the Year” by the Legion. Miss Day, who is making her screen bow in “Romance in High C,” musical for Warner release, will receive a gold plaque from the Legion for her wartime entertainment record. She made more than 500 personal appearances at army and navy bases, embarkation centers, hospitals, and USO and Stage Door canteens. ♦ Director John Ford has been elected commander of the motion picture chapter of the Military Order of the Purple Heart. He will be installed for a one-year term October 3 at ceremonies over which Ray J. Schulze, department commander, will preside. ^ * Actor Edward Arnold planed to Washington to address the combined convention of the American Theatres Ass’n and the Motion Picture Theatre Owners of America. Arnold also planned to join charity leaders of other representative industries at a meeting in the nation’s capital to discuss the formation of an American Overseas Aid organization to raise funds for needy people in foreign countries. He is executive vice-president of Hollywood’s Permanent Charities Committee. SAG Election Is Sought On Guild Shop Clause HOLLYWOOD — Members of the Screen Actors Guild have been mailed copies of a card through which they are asked to request a special election, under supervision of the National Labor Relations board, on the question of whether a majority of guild members desire a continuance of the guild shop. The election is made necessary under provisions of the new Taft-Hartley law and can be staged only if at least 30 per cent of the guild indicates a desire to retain the guild shop. At a general membership meeting of the American Guild of Variety Artists 17 candidates were selected as delegates to the organization’s national convention, to be held next month in Chicago. Florlne Bale, executive secretary of the local AGVA group, was also named to make the trip with the convention delegates. Academy Shows Series Of Screen Masterpieces HOLLYWOOD — A new series of “screen masterpieces” showings of all available Academy award-winning pictures from 1927 to 1947 has been scheduled by the Academy for presentation on successive Sundays The initial screening, “Wings,” was staged September 21. Others to follow include: “Seventh Heaven,” “Laugh, Clown, Laugh,” “The Fair Co-Ed,” “Two Arabian Knights,” “Street Angel,” “Underworld,” “The Jazz Singer,” “The Way of All Flesh” and “Telling the World.” 48 BOXOFFICE :: September 27, 1947