Boxoffice (Oct-Dec 1939)

NEWS AND VIEWS THE PRODUCTION CENTER (Hollywood Office — Suite 219 at 6404 Hollywood Blvd.; Ivan Spear, Western Manager) HEAVY PRODUCT BACEOG CHEERS IMMEDIATE OUTLOOK, BUT EARLY STUDIO SLUMP LIKELY See Hiatus to Follow "Little Flower's" Production Completion Current r ^ ii tn rm Product Lineups Shift Call 021 Deaf Ear s By IVAN SPEAR Although the European War is exerting less and less influence on production matters as the weeks go by, insiders are holding that holocaust responsible for one condition current virtually throughout the entire film capital — the enormous head start the majors have on their 1939-40 schedules — which finds a good share of the lots within a stone’s-throw of completing their entire lineups. The substantial backlog of completed product was built up deliberately, dopesters believe, because of fear and doubt as to what effect the war ultimately will have on foreign finances, grosses and production schedules. Furthermore, it has both its light and dark side. Regardless of domestic boxoffice grosses during the next several months, for example, under no circumstances can there possibly be any shortage of product — even though the flow of foreign releases ceases entirely. On the gloomy side, however, is the near-certainty that with completion of 1939-40 schedules Hollywood is going to imdergo a slump and a drastic curtailment of personnel during the hiatus until cameras begin turning on 1940-41 slates. And no matter how anxious producers may be to start on their new season’s output, insiders aver, it is hardly possible that they will actually begin to shoot at least untU early spring — indicating a dead spot of from one to three months during the winter. Exemplifying the current anxiety to complete the season’s schedules, Warner has ordered a heavy production drive which will see eight top-budgeters, including “Disraeli” and “The Sea Hawk,” going into work before January 1. Twentieth Century-Pox, denying reports another payroll slash is imminent, has its slate set through Christmas and boasts a backlog of 11 films in the cutting room, which will assure it of releases through March. “Maryland,” a big-budgeted effort in Up to its ears in wartime production problems, labor pains and other headaches, local film figures apparently refuse to take very seriously the statement by Mayor Piorello LaGuardia that he is going to put New York City on the map again as a film production center, to the obvious detriment of Hollywood’s standing as capital of filmdom. While on most lots the cinematic ambitions of New York’s fiery “Little Flower” have been absolutely ignored, his action was dignified by Paramount at least to the degree where several publicity-department-compiled statements attacking the feasibility of the plan were released. Among them were reactions from such executives as: Frank Lloyd — “There seems to be a general belief that motion pictures have gone onto the sound stages and that they are no longer depending on weather. Nothing could be further from the truth ... If the laurel is ever taken from California it will be by a far-from-modern, isolated community.” Technicolor, has been shifted from winter to next summer’s schedule. Paramount, with three slated to start, also will be busy through the Christmas holidays. Monogram ends a production lull before the end of the month by gunning two highcost efforts, “Rip Van Winkle” and “The Pioneers,” in addition to a number of programmers. Metro’s short subjects unit has hit a seasonal peak with 22 shorts either in work or on the line for immediate starts. Another victim of the English production shutdown, Alexander Korda, checked in for a stay of approximately three weeks. The United Artists producer indicated his intention of returning to Britain shortly to resume picture-making activity. Harry Sherman — “Every picture which I make has from ten days to a month of outdoor shooting in it ... I couldn’t find a mountain range, sagebrush or a cattleranch suitable for fiming within a thousand miles of New York City.” William LeBaron, managing director of Paramount production — “No place in the world can offer such natural facilities (as Hollywood). Coupled with this, the studios have invested millions in various ranches, outdoor streets which are replicas of those to be found in every city in the world, land-going battleships and parks.” What few other reactions were forthcoming were, largely, in the same vein. Republic studio officials, for example, echoed the argument advanced by Sherman, citing the preponderance of outdoor films on the North Hollywood lot’s schedule. At RKO Radio it was pointed out the newly-organized Academy Productions, headed by Lee Garmes, canceled plans to produce its initial film in New York and decided to remain in Hollywood because of advanced technical appurtenances. Metro Seeks Restrainer In Lamarr Pact Row Latest development in the feud between M-G-M and Hedy Lamarr over the latter’s salary found the studio filing a petition in superior court seeking an injunction to prevent the actress from accepting employment at any other studio or on the stage. Miss Lamarr recently declared, through attorneys, that her contract had been abrogated because, she alleged, M-G-M had failed to raise her salary in accordance with terms of the agreement. She contends she is receiving $500 weekly, and asks $5,000 per stanza. BOXOFFICE : : November 18, 1939 H 29