Independent Exhibitors Film Bulletin (1939)

NOVEMBER 4, 1939 The Inside on the Important Studios' Activities COLUMBIA Considerable speculation has been aroused by the talk that control of Columbia may soon pass from the hands of the Cohn Brothers. During the past ten days New York and Hollywood film circles have been rife with rumors to the effect that Wall Street and other NY money interests have refused further financing to Columbia and that certain parties are now endeavoring to take over the company through outright purchase. Before these rumors reached print, your correspondent was reliably informed that a general shutdown of the plant was under consideration . . . Unquestionably this gossip stems from the poor showing of Columbia's product during the '38-'39 season and the resultant financial loss. However, there has been every indication that the '39-'40 semester would show a definite improvement, despite the loss of Frank Capra as a selling factor. In preparation for the new season and in anticipation of Capra's withdrawal from the Columbia line-up, Harry Cohn has devoted the past six months toward building an impressive producer and director roster. On many previous occasions Studio Size-ups has pointed out the substantial advantages in Mr. Cohn's new system. Competent producers and directors are the very backbone of successful film production. A small company equipped with such men can attract the necessary name players without burdening itself with maintaining them under contracts. Today, with conditions existing that make so many top stars available, organizations like Columbia and Universal are in strengthened positions. It seems to us that there should be less apprehension now on the part of the company's stockholders or customers concerning Columbia's future than ever in the past. . . Another quirk in the situation is the fact that these rumors should occur at a time when "Mr. Smith Goes to Washington" is piling up unprecedented grosses for Columbia, aided somewhat by the controversy the film has aroused. "His Girl Friday", with Cary Grant and Rosalind Russell, is now in production and "The Amazing Mr. Williams", with Melvyn Douglas and Joan Blondell will be released shortly ... In the light of Harry Cohn's efforts during the past few months, a "'squeeze play'' to force him out of Columbia may be undeserved. Sudio Size-ups holds no brief for Columbia's '38-'39 product, or its output during the last half of the '37-'38 season. FILM BULLETIN was barred from the Columbia lot for almost a year because we spoke out in protest and urged a revision of the studio's personnel and policy. This has since taken place. So, to those who now wish to replace Harry Cohn, let us point out the following: Columbia was developed during the worst days of the depression. It was built and grew on the ashes of other, better equipped and longer established companies, whose tremendous overhead and extravagent policies could not cope with diminishing motion picture grosses. Columbia's stockholders and customers prospered because of the sound, economical policy of its production executives . . . Frank Capra's contribution to Columbia cannot be underestimated. It is, however, unfortunate that his consistently fine pictures developed the habit of placing on his shoulders the burden of carrying the prestige of almost the entire Columbia program. Today Capr a is no longer with the company, but there are others — men of proven ability and talent. It is well to remember at this point that this talent might not now be within the Columbia fold were it not for the acumen and persuasive ability of Mr. Cohn. As its A producers, Columbia lists Frank Lloyd, Wesley Ruggles, Howard Hawks, Rouben Mamoulian, AlexanderHall and P. J. Wolfson. In the B division there are such men of enterprise as Irving Starr, John Brahm, Charles Vidor, Frank Strayer and Sidney Salkow. The majority of these men have splendid reputations on the strength of their ability to deliver profit making product in their respective classifications. Another point to be considered is the fact that those affiliated with Mr. Cohn at Columbia learn the knack of producing pictures on close budgets— and it is a knack. Today, if we believe all the reports of the havoc wrought in the motion picture industry by the European War, this ability is at a premium. There is not a studio in Hollywood whose executives will deny the necessity for reducing production costs at this time. Columbia is one of the few motion picture lots where shrewd dealings and ingenuity are substituted for overhead. This at the instigation of Harry Cohn. It will be difficult for any of those who might buy out the company to duplicate his ability in this direction ... No word has been forthcoming from either of the Cohn Brothers concerning the rumors at this writing. Both are in New York and studio officials confess ignorance of the situation. It is worthy of record, however, that this is not the first time the Cohn Brothers have been reported in a tight spot. It has happened before. On those previous occasions a way out was found. The current rumors have enough background to almost guarantee their1 authenticity — but this department will not be the least bit surprised if the Cohn's pull through in typical style and continue with their ambitious and promising '39-'40 program . . . Three pictures are shooting at Columbia: "Cop From Hell's Kitchen" (Bruce Cabot-Jacqueline Wells), "Music In My Heart" (Tony Martin-Rita Hay worth) and "His Girl Friday" (Cary Grant-Rosalind Russell) . . . Two westerns, both featuring Charles Starrett, are the next on this outfit's schedule ... It is learned that Wesley Ruggles first production here will be a romantic comedy based on Somerset Maugham's successful stage play "Too Many Husbands". Jean Arthur, Fred MacMurray and Melvyn Douglas will star . . . Irving Asher, Columbia's quota producer, has arrived in Hollywood for a visit with an highly optimistic view of the motion picture situation in England. He believes he will be able to return in about six weeks to work on two more features for Columbia distribution. CASTINGS: Rita Hayworth, Edith Fellowes, Eric Blore, Alan .Mowbray. George Tobias, George Humbert, Joseph Crehan, Don Broday, Claire James. Martin Lamont, Phil Tead in "Passport to Happiness". . . . Alma Kruger, Billy Gilbert in "His Girl Friday" CONTRACTS: Sam. Briskin optioned to direct. . . . GRAND NATIONAL As this issue goes to press, Grand National's future looms brighter, due to the conclusive proof offered by Earle Hammons showing that G.N's much discussed RFC loan of $450,000 has actually been granted. This disclosure prevented the granting of an involuntary bankruptcy petition filed against G-N in New York by certain Eastern creditors. Hammons, after almost a year of negotiations, advised his company that within a very short time, additional funds will be forthcoming from other sources to complete the capitalization necessary to adequately refinance the company . . . Grand National's forthcoming revival of activity is important — both to independent producers and exhibitors. We have been given to understand that under the terms of the RFC loan, this money must be appropriated toward furthering Grand National's distribution aims and may not be used for actual film production. The private loans will probably be made available for production enterprises by various reputable Independent producers desiring either partial or complete financing. They