Canadian Film Weekly (Jan 5, 1944)

Pago 2 Address all communications—The Managing Editor, Canadian Film Weekly, 25 Dundas Square, Toronto, Canada. pmbished Any, Film Publications of Canada, Ltd., 25 Dundas Square, Torento, Ont., ada. Phone ADdelaide 4371. Price 5 cents each or $2.00 per year. Entered as Second Class Matter Printed by Eveready Printers Limited, 78 Wellington Street West, Toronto, Ontario ao ee i ee ee Ee Vol. 9, No. 1 Jan. 5, 1944 HYE BOSSIN, Managing Editor Theatres in Wartime (From the Orillia News-Letter) All of us have war neuroses these days. We're all a bit nervous and nervy. There’s hardly one of us who hasn‘t some one very near and dear in the service. On the battlefronts overseas many of us have loved ones of whom we are mighty proud but about whom we are not particularly happy. Others of us are soldiers of the home front, workers in war plants giving more of our time than we ever did before. We're sincerely yours—the American theatre-going public. Now it isn’t expected that motion picture theatre operators should automatically turn wet-nurses to a neurotic public. But it is rather in their line of duty to engender a feeling of security and happiness—or peace— for these entertainment seekers in their leisure time. Every theatre becomes a sort of haven for refuge in the minds of the public, a now more essential escape medium than ever in the past. During this era of the jitters, theatre operators have suddenly found themselves more genuinely appreciated than formerly. In the eyes of the public they have apparently become fair-haired boys again after a period of almost scathing neglect in which sometimes they were deemed wicked money-grabbers and sensational players upon public morals. What have they done to deserve this new recognition and what are they doing to maintain it? In the first place, it cam be said that theatre operators have done a great deal to deserve this belated recognition of their humanitarian activities. But lest they become inflated too suddenly, it must also be pointed out that war forced the role upon them. They’re not yet so godly that they could have been expected to foresee their duty much before war brought a somewhat unexpected increase in business and its resultant opportunity to be of distinct public service in the emergency. The point is that show people have arisen nobly and immediately to a situation which offered a wonderful opportunity to prove their essenticlity in the war scene. Unhesitatingly, theatres were thrown open to the public as a logical gathering place for the dissemination of education and war information, second in importance only to the press, but having the added incentive of entertainment. Canadian FILM WEEKLY ————_ 470 Pix Skedded For This Year (Continued from Page 1) and spy offerings that have flooded the screens. Many of the new martial productions will carry special messages, while others will have fresh angles. “Eome-front” subjects will also be screened. The various companies plan to make approximately 470 pictures during 1944. The break-down follows: MGM, 40; Paramount, 30; . United Artists, 30; RKO, 40; 20th Century-Fox, 35; Columbia, 65; Universal, 55; Warner Bros., 35; Republic, 60; Monogram, 40; PRC, 40. With production costs steadily increasing—a reflection of many war-time conditions—it is estimated that the studios will spend some $225,000,000 on features and shorts during the coming 1944 calendar year. If that figure is changed as the new year unfolds, it is likely to be raised rather than lowered. The trend in production costs is strikingly instanced by the disclosure of William FI’. Rodgers, that Metro’s expenditures have increased 100 per cent. in the past year. Production admittedly has been slowed down to some extent by the lack of experienced help. Steve M'Manus Head Of Ottawa MPTAO Stephen McManus is the new chairman of the Ottawa Division of the Motion Picture Theatres Association of Ontario for 1944. Steve is manager of the Elgin, Ottawa, and he replaces Bill O’Regan of the Laurier Theatre, Hull. I. Singerman, Imperial, Ottawa, is secretary, replacing Henry Marshall of the Regent, Ottawa; and Ambrose Nolan of the Little Theatre heads the Ways and Means Committee. ’ drama of 1943 in its 18th annual January 5, 1944 Karr, Star, Picks Best of Past Year (Continued from Page 1) “Random WHarvest’ — (Greer Garson, Ronald Colman. MGM). ‘In Which We Serve’—(Noel Coward. United Artists). “Shadow of a Doubt’—(Teresa Wright, Joseph Cotten. Universal). “Yankee Doodle Dandy’ — (Jimmy Cagney, Walter Huston., Warners). a “Forever and a Day’—(British all-stars. RKO). si “The More the Merrier”’ — (Jean Arthur, Joel McCrea, Charles Coburn. Columbia). “The Human Comedy’—(Mickey Rooney. MGM). “Stage Door Canteen”—(Holly— wood all-stars. United Artists). “Phantom of the Opera” — (Nelson Eddy, Susanna Foster, Claude Rains. Universal). ‘“Weaven Can Wait’? — Don Ameche, Gene Tierney, Charles Coburn. 20th Century-Fox). “This Is the Army” — (Wat— ners’ all-stars. Warners). 4 “Corvette K-225” — (Randolph Scott, Ella Rains. Universal). ‘Holy Matrimony’ — (Gracie Fields, Monty Woolley. 20th Century-Fox). “Lassie Come Home’’—(Roddy McDowell, Donald Crisp. MGM). Karr explained that his choices weren’t listed in the order of preference and that some of the ~ pictures rightfully belong to the 1942 list but didn’t play in Canada until 1943. ae Review Board Picks "Ox-Bow Incident’ The national board of review of motion pictures last week named 20th Century Fox’s “The Ox-Bow Incident” the best film selection of the 10 best pictures. The promotion of War Bond and Stamp sales is a second pattern into which the theatre fits perfectly. The record in this instance speaks for itself. Salvage campaigns also are highly successful. Indeed, the theatre’s war activities appear to have taken the place of its stopgaps in the form of giveaways and gambling games which apparently have been shelved for the duration and it's hoped by many for eternity. But to get back to the war neuroses and what theatres are doing about them. It has been claimed by many that some motion pictures tend to heighten neurotic conditions in some who view them. Well, this is a moot question. Undoubtedly pictures based on war occurrences are offttimes nerve-wracking to some individuals. But there is still freedom of choice in entertainment, and those who are wrongly influenced by certain types of pictures can still find their diversion elsewhere. Obviously, there is a place for both types of picture —the war cycle and the pure entertainment—and both have their advocates. It is in the theatre’s province to balance the picture entertainment, not only by his selection of program, but also by the manner in which he maintains the physical theatre property. It is in this respect, perhaps, that he can do most to continue the effect of popae appreciation of the theatre as a neurosis counteractant. The theatre property as a background for present entertainment is not overlooked by smart showmen. It is realized by them that the hospitable approach is particularly effective at this time. By endearing the theatre as an institution to its patrons, a showman invests it with further pulling power and with greater effectiveness as a war activity centre as well. Restrained by a dearth of modernization and beautifying elements, the theatre is yet easily made inviting by its {| hospitable atmosphere, good cheer and general cleanli| ness. In houses where high standards along these lines * | have been maintained, it is to be noticed that patrons are inclined to excuse appearances of wear and age, which they know would not ordinarily be tolerated by the thoughtful operator of such a property.—Film Box Olfice.