Canadian Film Weekly (Mar 18, 1942)

March 18th, 1942. South America Backs Hollywood A sure indication of closer United States-Argentine collabor tion is contained in a recent film Report from Buenos Aires, which ~ reveals that nearly three-quarters of the motion pictures shown in that South American republic annually were produced in the United States. And that despite the Axis influence. Germany and Italy combined contributed a mere four per cent. of the total films exhibited. These are prePearl Harbor figures, and antedate the intensive Pan-American activities which have since taken place. Of the 554 feature films shown in Argentina in 1941, 398 were produced in the United States, an increase of 18 over 1940. Other nations whose films found increasing favor in the land of the gauchos, were Russia and England, both engaged in fighting the Axis. Russia exhibited 13 feature productions in 1941 as compared to the four she exported in 1940, while England’s contribution jumped from five to 26 in the space of a year. Columbia Prepares shipping Drama The revised script of Columbia’s new sea drama, “Destroyer Men,” with last-minute changes in line with current war communiques, has been turned in to producer Lou Edelman by its. scenarist, Lieutenant Commander Frank Wead. Graphic battle scenes in the Pacific, and the efforts of American shipping to get a maximum number of fast destroyers into action are now written into the fast-moving story. The script will go immediately to the U.S. Navy Department for okay, and promptly upon its approval, will be put before the cameras with a director amd cast soon to be announced. “Destroyer Men,’ as _ authentic and revealing as Navy Department regulations permit, will be released at the earliest possible date. % % * Shooting was completed this week on ‘Canal Zone,’ Columbia’s timely picture of ferry bombers. Morris, John Hubbard ester ind Harriet Hilliard carry the = major roles, supported by Stanley Andrews, Forrest Tucker, Eddie Laughton, Paul Phillips, Lloyd Bridges, John Tyrrell, George McKay, Stanley Brown, Larry Parks and John Shay. Lew Landers directed. Canadian FILM WEEKLY | Hays Office Reaches Twentieth Twenty years ago on March 5, 1922, the motion picture industry, fearful of political interference and censorship, prevailed upon Will Hays, then U.S. Postmaster General, to accept the presidency of the newly organized Association of Motion Picture Producers and Distributors of America. Back in 1922 when the stars of Rudolph Valentino, Monte Blue, Marion Davies, Norma Talmadge, Douglas Fairbanks and the Gish Sisters blazed high in the Hollywood heavens, and D. W. Griffith was a household word, life in the raw, surging passions, and uninhabited temptresses flashed across the screen without restraint. Uncurbed sensationalism’ was _ so widespread that church, school and parent groups put the pressure on Congress and local legislative bodies to censor the film industry. There were trade abuses too, but the general public and the law making bodies were inclined to overlook what were considered private inter-industry affairs. The ‘)impairment of public morals, was however, of public concern and called for public action. The motion picture magnates took fright at this public reaction which threatened to strangle the rapidly growing industry with a blanket of censorship. A general house cleaning had long been in order, but now it was imperative. An act of contrition; some outward manifestation of a new leaf was necessary to forestall the impending storm. And what is more important, a respectable frontman was needed to act as the nation’s Film Czar. Such an individual was Will H. Hays, President Harding’s Postmaster General, prominent churchman and Republican. Such an act was the organization of The Association of Motion Picture Producers and Distributors of America, a self-governing body to selfimpose censorship, observe the cannons of good taste, and abolish the more flagrant trade abuses so characteristic of the motion picture industry of 1922. The collaboration of the public was an integral part of the new deal. So, on behalf of the new Association, Mr. Hays invited the important national groups to send representatives to a conference in New York in June, 1922. Sixty accepted, and this number was later increased to 73, out of which grew the Public Relations Committee. These organizations now enjoy preview privileges and are invited to meet with producers to Year discuss new pictures and controversial issues. Another self imposed restriction was the adoption of the Motion Picture Production Code in 1930. The code defines what is objectionable and what is permissible. The general principles of the Code state that 1—‘No picture shall be produced which will lower the moral standards of those who see it. 2—Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented. — Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation. ‘Castle’ Crowded A scene at the London debut of “Hatter’s Castle,” a powerful film made in England under fire. Paramount will release it in Canada. Jackasses Make : Money, Too It’s darn remunerative to be a jackass in a Hollywood movie. This was evident today as an aged Arizona desert rat was cast in Universal’s new Irene Dunne comedy, “Lady In A Jam,” at a salary of $4 per day and his three jackasses were also cast in the movie at $1.50 each per day. “Shucks, them asses earn more than I do,” said “Lone Prospector” Allen, the desert rat. Gregory La Cava, producing, directing and writing “Lady In A Jam,” needed the old prospector —and about a dozen more like him—for scenes in the comedy of a daft New York heiress who comes West to recoup her lost fortune working an abandoned gold mine in the badlands of Arizona. Page 5 USA Exhibitors Cool on Decree American exhibitors have gone cold on hte Blocks of Five booking plan as part of the Consent Decree. After years of blind buying and bad blood between distributor and exhibitor over the sale of product, the exhibitor finally had his way. Less than a year old, the plan has fallen into disfavor and modifications are being planned. Peculiarly enough, many exhibitors, while protesting against the unworkability of the plan, have signed for a number of blocks at once following the tradeshowings which are part of the plan. This has been laid to good business, reasonable terms and the need to have the time given to viewing the pictures personally. The United Motion Picture Industry committee, which has been meeting about the problem, has brought back a modification subject to the approval of the Department of Justice. The committee would retain the compulsory aspect of the Block of Five, but would add seven more pictures. The Block must still consist of five finished and tradeshown films but the seven may be sold while still in production. One or two of the seven may be ‘cancelled, dependant on the rentals. Those paying from $101 to $200 can cancel one. Being Horrible Is Just a Job Bela Lugosi, the specialist in spine-chilling drama of the “Dr. Frankenstein” and “Dracula” brand, has a personal aversion to redblooded entertainment and infinitely prefers the lulling nuances of the bedtime fable. : Currently re-enacting one of his iorror roles as the warped maniac who directs the terroristic reign of the monster in “Ghost of Frankenstein” at Universal studios, Lugosi confessed that artistically there is considerable of the “Dr. Jekyll and Mr. Hyde” in his own dersonality. “To portray a maniac offers a zompelling challenge,” he said. “I find, however, that once I have completed such a role, my inter2st in it immediately abates. As a matter of fact, chill drama holds no lure for me as a spectator. On the contrary and apparently as a release from my workday life, I personally gain my theatrical diversion most delightfully from the frothiest of screen nonsense. “A travel subject or a cartoon short, well-made a free from realistic thrill stuff, is frequently my choice on the film bill,” Lugosi added, ie |