The Exhibitor (1951)

STUDIO SURVEY SS-3 Star and Picture Maker Michael Curtiz, a top director in EXHIBITOR'S Laurel Awards poll and ace director on the Warner lot, believes in doing the unusual and it has paid ofF. It isn’t much of a vocal effort to get a real, bang-up interview with Mike Curtiz, my favorite director. Mike, as we of the press call him, is a self-winder. He can eat, sleep, and talk pictures. The truth of the matter is that for over 25 years at Warner Studios, Curtiz has been making pictures with precious little time for eating, talking, and sleeping. I LOVE to hear Mike wax enthusiastic about his work. He showers affection on his players and by showing openly this sincere admiration of their talent he can accomplish the film achievements which have been the glowing milestones of his career. For any director to remain for a full quarter century with one studio is in itself a towering testimonial. Ask any Hollywood worker about this, and you will be instantly assured that Curtiz is a miracle man. The way I see it, it isn’t as much of a miracle as it is knowing your job, loving your job, and, above all, doing your job. Michael Curtiz was born in Budapest on Christmas Eve, 1889. As early as he can remember, he knew only of poverty. The main family dish was usually a hunk of dark bread with a piece of herring slung across it. This wasn’t exactly the same sort of herring which present-day gourmets nibble at politely at Toots Shor’s and Dave Chasen’s. This wasn’t followed by 16-ounce filet mignon steaks and baked Alaska. Exhibitor’s Laurel Awards poll last year honored Curtiz as a Topliner Direc¬ tor. This year, he has two solid entries running under his colors, “Jim Thorpe — All American” and “I’ll See You In My Dreams.” While exhibitors will be mulling over the sweet taste of these two hits, Curtiz will be busy at Warners mixing another batch of his magic picture brew which will soon take shape as “The Will Rogers Story.” With Will Rogers, Jr., MICHAEL CURTIZ acting the title role, and Will Rogers’ widow acting as story consultant, Warners has a lot to look forward to, and so does the public. Curtiz will not be pinned down or permanently identified with any one par¬ ticular type of picture. Look at the names of some of the all-time hits he has made, and realize the truth of this statement: “20,000 Years In Sing Sing”, “Black Fury”, “Captain Blood”, “Kid Galahad”, “Four Daughters”, “Adventures Of Robin Hood”, “Angels With Dirty Faces”, “The Sea Hawk”, “Dive Bomber”, “Yankee Doodle Dandy”, “Casablanca”, “Mission To Mos¬ cow”, “Mildred Pierce”, “Life With Father”, “Young Man With A Horn”, “Jim Thorpe — All American”, “I’ll See You In My Dreams.” How IS that for a diversified credit list? This represents about every type of pic¬ ture theme ever made, and if one shouldn’t find it among those listed above it’s a lead pipe cinch that it is in the long, long list of his other pictures which I cannot men¬ tion due to limited space. Mike Curtiz is a guy who gets terrific hunches, and plays these to the hilt. When casting for “Captain Blood,” he happened to notice a tall young extra walking down the studio street. He had never seen the young man before and didn’t know whether he could act worth a nickel, but within 10 minutes the dazzled extra was reading lines. He was satisfied that this young actor would be perfect for the part. That he was not a name, and, therefore, not very good boxoffice insurance, did not deter Curtiz in battling with the front office to get the lead for this unknown actor. Curtiz finally won out, and it was do or die. He evidently did, as the young extra who was handed the break of his life by Curtiz was none other than Errol Flynn. While preparing “Mildred Pierce”, which saw the rebirth of Joan Crawford as a top dramatic star, Curtiz discovered a tall, loosely knit young man who had been working as a carpenter for quite a few years trying vainly to get even some extra work. Curtiz tested this novice, found a very different and appealing type of screen personality, perfectly adapted for the leading role in “Mildred Pierce”, and again made a strong pitch with the top brass for the carpenter-actor. When the smoke cleared, and the picture began racking up record grosses, Warners real¬ ized for the first time that Curtiz had handed them another star, David Brian. And so it goes with Michael Curtiz. All in a day’s (and night’s) work is his an¬ swer to the kudos tossed his way. Doris Day is another star who owes her start to Curtiz. Still another, and perhaps the gem of all casting miracles, is the smash hit that Danny Thomas is making in his portrayal of Gus Kahn in Warners’ “I’ll See You In My Dreams.” How about that (Continued on next page) Curtiz talks with Burt Lancaster on the set of Warners' recent "Jim Thorpe — All American." Curtiz confers with Doris Day and Danny Thomas on the set of Warners' musical, "I'll See You in My Dreams." The youngsters are Robert Lyden and Bunny Lewbell, featured in the film. January 23, 1952 EXHIBITOR