Canadian Film Weekly (Jul 5, 1944)

i | 4 Vol. 9, No. 27 Film Footage Girdles Globe MGM’s statistical experts have been busy the past few days, in view of the company’s TwentyYear Anniversary, and one interesting set of figures was compiled in connection with film footage used since the merger of Metro, Goldwyn and Mayer. According to William D. Kelly, head of the film department, the overall footage consumed by domestic and foreign distribution of features and shorts; and the studio for tests and other purposes in the twenty-year period, totals approximately six billion feet. It has been figured out that this footage is more than three and a half times around the world and it would take anyone who would want to sit through consecutive showings a matter of 11 weeks, five days, 18 hours and 45 minutes to see all the films produced by MGM. For domestic distribution alone, film footage consumed in the twenty years amounted to two billion, nine hundred million feet. The foreign department distribution division used close to one billion feet, or about fifty million feet a year. Under normal conditions, MGM used approximately 160 million feet of film for domestic prints, but since the 30 per cent cut under the WPB rationing program. this figure has been reduced to 140 million feet a year. From 1941-44, the annual ayerage is 390 million, which includes stock used for prints, domestic, studio and shorts. The previous five years minimum average was 700 million feet. However, these figures do not include foreign, which has been consuming an average of 50 million feet a year. The high on Technicolor prints for an individual picture in the domestic market goes to “Gone With the Wind,” for which 550 prints were ordered. The high for black and white prints in the domestic market goes to “Mutiny on the Bounty,” for which 450 prints were ordered and used. Next high went to “Mrs. Miniver” with an order for 402 prints. In the foreign field, “Maytime” took the all-time high for black and white prints. The orders for release and reissue totalled 360 prints, and of this number 60 alone went to England. REVIEWS FROM FILM DAILY, NEW YORK Meet the People " with Lucille Ball, Dick Powell M-G-M 10¢ Mins. MUSICAL CONTAINS NUMEROUS INGREDIENTS OF POPULAR FLAVOR; SONG CONTENT STRONG, “Meet the People” is a musical cut to the popular pattern. Most of its entertainment strength lies in its song content and in several production numbers of ample proportions. The picture is compounded of the stuff that makes a hit primarily with young filmgoers. As an added magnet the picture presents a cast containing many performers who offer the promise of a good time, although not all deliver as well as might be expected. Chief among the trade-pulling names are Lucille Ball, Dick Powell, Virginia O’Brien, Bert Lahr and “Rags” Ragland. Although the material doesn’t always do these performers justice, they succeed uncommonly well in holding the entertainment together and guaranteeing the production a good public reception. Given a routine production by E. Y. Harburg, the picture, apparently inspired by the musical show of the same title that played on Broadway after a long Hollywood engagement, tells the rambling, fanciful tale of a shipyard worker (Powell) who gets the assistance of a stage star (Miss Ball) in his campaign to sell a show saluting “the people.” He disposes of the show to a Broadway producer but changes his mind when the latter insists on putting it on in a way that destroys its message. Finally the show is staged for his fellow workers with the help of Miss Ball, who by this time has turned her talents to advancement of the war effort as entertainment chief of the shipyard. Naturally, the close finds her and Powell very much thataway. The direction of Charles Riesner is average. CAST: Lucille Ball, Dick Powell, Virginia O’Brien, Bert Lahr, “Rags” RagJand, June Allyson, Steve Geray, Paul Ragland, Howard Freeman, Betty Jaynes, John Craven, Morris Ankrum, Miriam LaVelle, Ziggie Talent, Mata and Hari, Vaughn Monree and orchestra, Spike Jones and His City Slickers, DIRECTION, PHOTOGRAPHY, Good, New Rogers Film Roy Rogers’ next film for Republic will be a musical Western, “Lights of Old Santa Fe.” Routine. Uncertain Glory with Errol Flynn, Paul Lukas Warner 102 Mins. STRONG DRAMATIC ENTERTAINMENT IS SURE MONEY MAKER; FLYNN-LUKAS TEAM BIG FEMME HIT. Beyond its title there is nothing uncertain about this tale of redemption. The offering is measurable boxoffice merchandise of solid merit that draws upon the bursting ranks of the Errol Flynn and Paul Lukas fans for its support. With these two worthies in the cast exhibitors can look confidently to feminine patronage as heavy as that from the masculine contingent. “Uncertain Glory” is entertainment rich in dramatic values, telling against a background of conflict a story that avoids the usual pattern for war-born tales. The unfurlment of the plot has been achieved with high excitement and a strong measure of suspense. The film, set in France, pits Flynn, an amorous criminal sought for murder, against Lukas, veteran French detective. As the picture opens Flynn escapes from prison on the verge of being guillotined when British bombers destroy the place, killing everyone but him. But soon Lukas, who has made Flynn his special case, catches up with the fugitive in a village that is the scene of an act of sabotage against the Nazis. One hundred hostages face death unless the saboteur is apprehended. Flynn prevails upon Lukas to have him surrender as the saboteur in order to save them. If he has to die he may as well do so in a noble cause. Before Flynn goes through with the bargain he induces the detective to grant him time for a final romantic fling with a village girl with whom he has fallen in love. The scenes between the lovers are productive of many moving moments. CAST: Errol Flynn, Paul Lukas, Jean Sullivan, Lucile Watson, Faye Emerson, James Flavin, Douglas Dumbrille, Dennis Hoey, Sheldon Leonard, Odette Myrtil, Francis Pierlot, Wallis Clark, Victor Kiljan, Ivan Triesault, Van Antwerp, jArt Smith, Carl Harbaugh, Mary Servoss, Charles La Torre, Pedro de Cordoba, Bobby Walberg, Erskime Sanford, Felix Basch, Joel Friedkin. DIRECTION, Geed, PHOTOGRAPHY, Good. PRC Signs Hughes Mary Beth Hughes has been signed by PRC for the top role in “I Accuse My Parents.” | REVIEWS | INFORMATION RATINGS | $27.00 Per Annum RKO Contest Picks Winner Before a capacity audience that filled Toronto’s Eaton Auditorium last week, Leo M. Devaney, RKO Canadian general manager, presented first prize of $500 to Miss Wilma Porthouse of Hamilton, Ontario, climaxing a thirtyday Dominion-wide search for the Canadian “Princess Snow White.” Miss Porthouse sang at the opening of “Snow White and the Seven Dwarfs” a few days later in the Century Theatre, Hamilton. The seven contestants in the final audition represented cities from every province in the Dominion: Vancouver, Edmonton, Saskatoon, Winnipeg, Hamilton, Montreal and St. John. For thirty days RKO representatives from the Disney studios listened to more than 7,500 contestants from British Columbia to New Brunswick and their choice from each province competed with Miss Porthouse in the final audition. In conjunction with the contest, & number of units from the Disney studios toured the country presenting their acts from the Stages of leading theatres in Canada. Present at the final audition in Toronto were Adriana Caselotti, original voice of Snow White and Pinto Colvig, who is the voice of Grumpy and other Disney characters including Goofy and Pluto the Pup. Toronto's Mayor Fred J. Conboy and other local dignitaries were on hand for the final audition together with representatives from the RKO Toronto home office. The four judges were Dorothy Allen Park, Faculty of the Toronto Conservatory of Music; William Morton, well known Canadian tenor; Roy Fenwick, supervisor of musical education for the Province of Ontario; and Roly Young, film critic of the Toronto Globe and Mail. Rank to Control Denham Studios J. Arthur Rank last week acquired almost 100 per cent control of Denham Studios in a deal with British and Dominion Film Corp., which controlled Denham and Pinewood Studios, Rank will join the board of directors. a re