The Exhibitor (Nov 1938-May 1939)

SPECIAL FEATURES BOOK REVIEWS Status of Foreign Markets "REVIEW OF FOREIGN FILM MARKETS DURING 193 8,” prepared by the Motion Picture Division, U. S. Department of Commerce, Nathan D. Golden, chief, ix -p 377 pages. Multigraphed . Washington U. S. Department of Commerce. 1939. From the U. S. Department of Commerce recently came its annual tome, on the status of American motion pictures in 82 foreign countries— 2 8 in Europe, 26 in Latin America, 16 in the Far East, six in the Near East, six in Africa, and Canada. "Motion pictures have a definite significance in the list of American exports,” stated acting director N. H. Engle, Bureau of Foreign and Domestic Commerce, in the foreword. "Not only are the foreign film markets important to American producers because of the amount of money earned abroad and remitted to this country— there is also is also the important factor of the influence which the pictures exert in familiarizing foreign audiences with American ways of living and stimulating the desire to own and use such garments, furnishings, utensils, and scientific innovations as are depicted on the screen. The benefits derived by this country from a successful cultivation of the foreign motionpicture markets are thus both direct and indirect. For these reasons, it is necessary that our motion picture producers and distributors be in possession of timely and pertinent information with respect to the conditions in markets overseas. Such up-to-date facts are peculiarly vital at the present because of the frequent shifts, the many new developments and the contingencies and emergencies that arise suddenly in the foreign motion-picture field.” That these ends may be served, the data on the 82 countries, as far as they can be determined, briefly catalogued under the following headings: Legislation, censorship, domestic competition, copyright relations, domestic production, taxes, theaters, sound, educational film developments, imports from the U. S. (total feet and value of both positive and negative sound films) . From a study of the facts and figures brought forth Nathan D. Golden, under whose direction the volume was prepared, declares that, regardless of the conditions in any particular country, U. S. producers must "persistently and adroitly (make)1 the foreign movie-goer acutely conscious that the American picture is a product of decidedly superior quality — of rich and varied artistry, of entertainment unmatchable in the run of the mine output of our competitors abroad.” Only in this way, he suggests may the demand be continued in spite of restrictions to the contrary. "Review of Foreign Film Markets During 1 93 8” is decided a work for the producer and the distributor — and even the U. S. exhibitor may well fitad much meat in its 370-odd pages, for, in the last analysis, the Golden suggestions for better market conditions abroad cannot but help to improve the domestic product. Brown Skirted Threat "NAZI SPIES IN AMERICA,’’ by Leon G. Turron (as told to David G. Wittels). 2 99 pages. New: Random House. 193 9. It is not the custom of this department to devote itself to books failing the category of "reading” literature — whether fiction or nonfiction— but from time to time there appears a work which merits this attention, either being of itself outstanding or by being Exhibitorworthy in the light of a motion picture to be made from it, and particularly when that picture may be, by its very release, the very center of international recriminations and possible reprisals. Such a book is Leon G. Turrou’s "Nazi Spies in America,” from which Warner Brothers is making "Confessions of a Nazi Spy” (national release date: May 6). The widely publicized story of the one-time G-Man’s uncovering of the Nazi spy ring in this country is as remarkable a tale as any fictional espionage story ever written. David G. Wittles, in doing the book, put Turrou’s facts together in a manner which holds the reader in a constant state of concern for the welfare of the U. S. throughout its entire reading. Most astounding to the American citizen in this tale is the proof laid down by Turrou of the Third Reich’s definite connection with the espionage ring and the pressure it used on German shipping companies to effect the entrance and exit of its agents. "Nazi Spies in America” is a story which should be on the "must read” list of every true American. Right of Privacy "THE RIGHT OF PRIVACY— A NEW BRANCH OF LAW," by Louis Nizer. 32 pages. Reprinted from the 193 9 Film Daily Year Book. An outgrowth of modern life and living, the legal principle of the “right of privacy” has mirrored a contemporary struggle between the rights of the individual and those of society at large. With the advent of the motion picture, radio, and other modern means of communication, the degree of privacy that a person might enjoy ADVANCE SHOTS Neiv Pictures Tersely Cited Received too late to be included in last week’s Blue Section were reviews of the following subjects. These Advance Shots are given pending complete Six-Point Reviews next week. Features BIG TOWN CZAR (Universal)— Barton MacLane, Tom Brown, Eve Arden, Ed Sullivan, Walter Woolf King, Jack LaRue. 66m. This is a typical gangster picture, a programmer. THE CURTAIN RISES [Entree des Artistes]. (Kassler) — Louis Jouvet, Claude Dauphin, Janine Darcey. 8 5m. A pleasing French importation, this fails to be another "Ballerina.” FOR LOVE OF MONEY (Universal) — June Lang, Robert Kent, Cora Witherspoon, Richard Lane. 67m. A horse-racing yarn, this is raised out of the ordinary by a fast moving story. HOTEL IMPERIAL (Paramount)— Ray Milland, Isa Miranda, Reginald Owen, J. Carroll Naish. 80m. A low-rating programmer, this has Ray Milland becoming embroiled in a RussoAustrian fracas, finding Isa Miranda. JURAEZ AND MAXIMILIAN (Migutl C. Torres) — Medea Novarra, Lionel Atwill, Conrad Nagel, Guy Bates Post. 95m. Historically accurate, this picturization of the reigne of Mexico’s Maximilian (with Queen Carlotta) just misses being the great show it should be with this narrative and cast. OUTSIDE THESE WALLS (Columbia) — Michael Whalen, Dolores Costello, Virginia Weidler, Don Beddoe. 61m. A prison-andnewspaper story, this is a pleasing programmer, with an exploitable cast. SORORITY HOUSE (RKO-Radio) — Anne Shirley, James Ellison, Barbara Read, J. M. Kerrigan. 60m. A nice programmer, this deals with college girls, the vicissitudes of the rushing season. SWEEPSTAKES WINNER (Warners) — Marie Wilson, Johnny Davis, Allen Jenkins, Charley Foy. 59m. The Marie Wilson-Johnny Davis team is practically wasted in a poor race-track story. Shorts BARNYARD EGG-CITEMENT (20th Century-Fox)— 7m. A chick is hatched, snatched by an eagle, saved by the other birds. 11 has mightily shrunk, until cases at law have endeavored to delimit intrusion. Louis Nizer, distinguished New York attorney, has endeavored to make plain the present situation in this pamphlet reprinted from the Film Daily Year Book. He presents his argument under four headings: (1) The right of privacy is an outgrowth of modern life; it was unknown 5 0 years ago. (2) Although the right of privacy is of comparatively recent origin, it roots go back into the ancient principles of the common law. (3) In the half-century since the right was first judicially recognized, it has found its way into the law of different states through different channels: (a) the courts, which have refused to recognize the right of privacy in the absence of statute, have been motivated by an unwillingness to create new precedent and by the fear that an uncontrollable flood of litigation would ensue; (b) the courts, which have recognized the right of privacy as part of their common law, have been impelled by an innate feeling of natural justice, without striving to find support in strained common law analogies. (4) The right of privacy is applied or denied in certain situations which can be formalized from experience, in matters of (a) public interest, (b) advertising or trade purposes, (c) protection of names and pictures, (d) privacy after death, (e) consent. From the Nizer consideration, the right of privacy is still a matter to be decided upon the merits of the particular case at hand. BIG LEAGUERS (RKO-Radio) — 9m. The Chicago Cubs train at Catalina Island. THE CHUMP TAKES A BUMP (Columbia) — 18m. Charlie Chase falls in love with his own wife. COMMUNITY SING, No. 8 (Columbia)*— 11m. Devoted to Strauss waltzes, this is more entertaining than singable. THE CRAWFORDS "AT HOME” (Vitaphone) — 10m. Jesse, Mrs. Crawford offer another organ recital. DONALD’S COUSIN GUS (RKO-Radio) — 7m. Visiting Donald, cousin Gus eats up everything he can find. DIAMOND DUST (Paramount) — 10m. Only a fair Sportlight, this deals with the "science” of baseball. FOR AULD LANG SYNE (Will Rogers Memorial Commission) — 10m. Robert E. Sherwood, Raymond Massey, Lowell Thomas, Spencer Tracy, Deanna Durbin, the entire industry fabricated this reel appeal effecting as well as entertaining. GOLF CHUMPS (Columbia) — 6m. Krazy Kat goes golfing, is variously bothered. THE HOCKEY CHAMP (RKO-Radio)— 7m. Just that, as a Walt Disney production. THE IRISH ISLE (Central)— 10m. A routine travelogue of Eire. THE LITTLE GOLDFISFI (Metro) — 8m. First of the Hugh Harmon cartoons, this tells of the adventures of a goldfish down a drain pipe. MUSICAL MOUNTAINEERS (Paramount) — 10m. A fair Betty Boop cartoon. NAVY CHAMPIONS (Columbia) — 9 %m. Annapolis, the U. S. Naval Academy — from the sports angle. THE PEASANT’S WEDDING (Polish Pictures). 3 5m. A technicolor recounting of a peasant wedding, this should do best before Polish audiences. PORKY AND TEABISCUIT (Vitaphone) — 7m. The titular duo wins the steeplechase. SMOOTH APPROACH (RKO-Radio)— 10m. Professional golfers show how it is done. UNUSUAL OCCUPATIONS, No. 5 (Paramount)— 10m. The usual good collection of interesting miscellany, in technicolor. WHILE AMERICA SLEEPS (Metro) — 21m. "A Crime Doesn’t Pay” release devoted to catching spies. YES, WE HAVE NO BONANZA (Columbia) — 16m. The Three Stooges go prospecting, find the gold, get the bank robbers. April 26, 1 939