The Exhibitor (Jun-Oct 1939)

14 THE EXHIBITOR WARREN STOKES HOLLYWOOD NEWSREEL • MR. EPIC PRODUCER of Hollywood swallowed his morning coffee with a gulp and pressed every button on his desk with a jab of contempt as he took a second glance at the morning paper. An inde¬ pendent producer had made the headlines! News was made when Harry (“Pop”) Sher¬ man, producer of Paramount’s series of “Hopalong Cassidy” features, starring William Boyd, made the headlines with the announcement that he had formerly proposed to the Academy of Motion Pic¬ ture Arts and Sciences that a special Academy Award be set up for western pictures. Hollywood’s big budgeteers and most of those in the “B” division suddenly began to realize that the once lowly “horse opera” was riding to a higher place on the cinema ladder. For the “B” picture producers, there was some solace in the fact Sherman had proposed a “special” award classification, which eliminated westerns from direct competition. We are of the opinion that many of today’s westerns outclass most of the lower bud¬ get, lower bracket offerings in every de¬ partment. What Westerns Mean • THE SILENT WESTERN PICTURE was one of the most popular forms of celluloid entertainment; but, in the opinion of Hollywood, it was even then looked upon with a certain amount of disgust by the would-be makers of colossals. With the coming of sound, the biggies of movieland were quick to sound the death knell of western pictures. It would be impos¬ sible, they thought, to utilize sound in the making of outdoor action pictures. The pioneer producers of the much abused “horse operas” refused to be licked and, apropos of the American spirit, reflected in these celluloid offerings, woven against the natural background of the great out¬ doors, they fought their way back to pub¬ lic favor. Today, much as Hollywood hates to admit it, the fan mail of the established western star exceeds by far that of the most widely heralded glamour boy or girl ever launched on the American screen. We do not hesitate to state that western pictures, during this period, have out¬ distanced in the way of improvement, many of the so-called epics. Budgets on westerns have been substantially in¬ creased, they have taken on more artistic setting, and the better class of players, writers and directors, have been drawn into the western producer’s corral. The American cowboy is a national figure. He will always figure as a picturesque indi¬ vidual to the youngsters of this country and, to the old folks, he will always re¬ main a symbol of Americana; even the advocates of the so-called colossals have evidenced this, with big budget pictures which, in the final analysis, have been nothing more than glorified westerns. Hurrah For Sherman • HARRY (“Pop”) SHERMAN is to be congratulated upon his initial step to gain recognition for western pictures. I am sure, while he can offer the keenest of com¬ petition through his “Hopalong Cassidy” and Zane Grey features, he is making this proposal with the whole industry in mind. With this kind of competition, he is auto¬ matically contributing to the future wel¬ fare of western pictures, promoting a deeper interest in this type of screen fare, inviting even a better class of outdoor film, and last, but not least, carrying the banner for the pioneers of this industry to follow. As to the Academy, I can only state that westerns have been the back¬ bone of this industry since Hollywood was a cow pasture, and agree with “Pop” that they are in a distinctive class worthy of distinct consideration. For the Academy • THE ACADEMY should seriously con¬ sider the western picture for this special award. When we take into consideration the top-line stars of today, those who first faced the camera in these outdoor action attractions, those who have graduated from the celluloid range and corral, not forgetting those who are still riding in the saddle to preserve those good old American traditions, we cannot help but cast our lot with these pioneer producers, who really make the stars of tomorrow; those pro¬ ducers who cater to the youngsters, mak¬ ing them the adult ticket buyers of the future, thereby building this industry on a firm foundation, a concrete base that insures the progress of this great industry through the development of character in keeping with American principles. Bear¬ ing in mind that these facts are conducive to the welfare of the motion picture in¬ dustry in general, we see no reason why the Academy should not unanimously vote in favor of the special award for western pictures and award an “oscar” to the best western picture for the best interests of this celluloid industry. Westerns Forever • THE WESTERN PICTURE, despite the attitude of the so-called upper grade pro¬ ducers, will always be with us. It is a vital part of this industry. To realize and recognize its importance as a contributing factor to the progress of this industry is the main duty of every one concerned. Personally, I want to congratulate “Pop” Sherman for taking the necessary steps to gain this recognition. The once lowly western, is now highly rated celluloid commodity, it fills an important niche in the world of entertainment, it is still the bread and butter product of this industry, and it feeds a source that breeds bigger and better business for this industry in the years to come. Production Notes Before the month is over, Warners should have “Virginia City,” with Errol Flynn and Brenda Marshall; “The Life of Paul Ehrlich,” with Edward G. Robinson; “Three Cheers for the Irish,” with Jane Wyman and Frank McHugh; and “Granny Get Your Gun,” with May Robson and Claude Rains, before the cameras. After Edward G. Robinson gets through with “Salvarsan,” he will essay, for War¬ ners, the limning of Benjamin Franklin. At Warners, Geraldine Fitzgerald is ex¬ pected to play the feminine lead in the remake of “Disraeli.” Edward Small announced that he will film Washington Irving’s “Legend of Sleepy Hollow” in the near future. Production costs went up in smoke on the 20th Century-Fox lot with the water¬ front set of “Little Old New York,” con¬ sisting of warehouses, wharves, boats and ether structures, erected at a cost of $37,000 burned in the fire sequence climax. Metro has assigned John Nesbitt, writer and. commentator on Passing Parade series, for three more subjects. First will be “The Secret Seven,” based on the ancient order of Virginia, to be followed by “The Red Rose,” story of Baron Henry Steigel’s will, and “Science Gives An SOS,” dealing with operations of wireless as performed at sea. Jack Chertok pro¬ duces. Dorothy Lamour will go on loan from Paramount to 20th Century-Fox where she will co-star with Tyrone Power in “Johnny Apollo.” Edward Arnold is slated for a major role in this picture. Deciding on a series of pictures with the radio team of Weaver Brothers and Elviry after seeing them in the current Republic opus, “Jeepers Creepers,” H. J. Yates has signed the hillbilly comics on a two-year contract calling for three pictures a year. Harry Sherman, still taking bows for the quality of his latest Hopalong, “Law of the Pampas,” will use more than 200 players in his new Paramount production, “The Light of Western Stars,” slated as a Zane Grey special. Lesley Selander will direct. “Charlie Chan’s Oriental Cruise,” will be the fourth of the group of four Charlie Chan productions for the 1939-40 season, it was announced by John Stone, 20th Century-Fox associate producer in charge of the Chan pictures. Sidney Toler’s next Chan assignment is “Charlie Chan in Panama.” “Chan’s Oriental Cruise” will have a December starting date. “The Earl of Chicago,” drama of a Chi¬ cago underworld king who inherits an English estate and title, is now before the Metro cameras with Robert Montgomery in the starring role. Featured spots have been given Edward Arnold and Reginald Owen. Richard Thorpe is directing. November 1, 1939