Independent Exhibitors Film Bulletin (1941)

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T O C T O B E 11 R 4 19 4 1 STUDIO SIZE-UPS The Inside on the Important Studios' Activities COLUMBIA A frequent point of editorial comment in FILM BULLETIN lias been our desire to see increased adult appeal injected into serials. Some steps toward accomplishing this have already been taken at Universal. Now comes Larry Darmour who advises that he believes he is setting several precedents in the production of "Holt of the Secret Service." which stars Jack Holt with Evelyn Brent. These include: a material increa«se in the budget for this picture; a lengthening of the shooting time above that generally allowed for serial productions; and the filming of each installment as an entity so that each will be entertaining and understandable to an audience that might not have seen the previous chapters. With these innovations, plus adding comedy to the story while maintaining the element of suspense so popular with the youngsters, Darmour believes that the experiment will result in the building of a much v/ider audience appeal for serials than they now enjoy. Marlene Dietrich has returned to Columbia to complete her role in "The Lady Is Willing," production of which was shut down since the star fell during a scene three weeks ago. . .Russell Hayden and Rita Hay worth have been set for the stellar spots in the studio's version of the Broadway stage hit, "My Sister Eileen." Al Hall will direct... To Glenn Ford has fallen one of the choice screen roles of the year, the title role in the film version of Jack London's "Martin Eden," which will go into production soon as a B. P. Shulberg production. Claire Trevor will have one of the two feminine leads. Sidney Salkow will direct, this being his most important assignment to date. IN PRODUCTION— "The Lady Is Willing" (Marlene DietrichFred MacMurray), "Bedtime Story" <Loretta Young-Fredric March), "Blondie Goes to College" (Penny Singleton -Arthur Lake) and "Honolulu Lu" (Lupe Velez-Bruce Bennett). PREPARING— "Eadie Was a Lady." r.4STING.S: .Joe E, Brown. Adele Mara in "Cowboy .lop" .. ..Jinx FalkcnlmrKin "ProfeKsional Model" ... Forrest Tucker. Don Beddoe in "Honolulu l.u"... Larry Park.s in "Blondie Goes to Collepe" . . . .\rline .Judge in "Tlie \,ady is Willing:". . .Bernie Gould, Harry I anR, Ed Bruce in "Sing for your .Supper"... Grady Sutton, .lean Hazard in "Bedtime .Story" ... Virginia Sale. Julius Tannen, Chailcs Ray in "Harvard, Here I Come." METRO-GOLDWYN-MAYER All over Hollywood exciting things arc happening in the motion picture industry. Later in this Studio Size-ups we report on two brilliant new production personalities introduced auspiciously at Warners last week. Columbia, with a long line of prospective hits lined up for release, is basking in the reflected glory of the original, imaginative and entei-prising "Here Comes Mr. Jordan." Universal continues to blossom and grow in importance. 20th Century is manufacturing gold dust with "A Yank in the R. A. F." Even pathetic, hamstrung RKO has ambitious plans in the making. Everywhere, one is faced by the same conclusion — the film industry is finally creating — it is really striving to enlarge its vision and scope. People within the industry and inany on the outside, who never before dreamed that opportunity would knock at their doors, are finding studio gates open to their fresh ideas and new talent. The Consent Decree coupled with the stimulus of the times, may be held responsible for the invigorating atmosphere that is now evident in every nook and corner of Hollywood. Meanwhile, Metro's studio continues on its stodgy, stuffy way — unmindful of the changes that are being wrought in filmdom. Close on the heels of trade showing two remakes, "When Ladies Meet" and "Smilin' Through," we are informed that the studio will soon begin filming another oldie, "Rio Rita." Today, there is a report that the company is dusting off "The Cardboard Lover" for George Cukor and J. Walter Ruben — this museum piece having been the pride and joy of little theatre groups and amateur enthusiasts for years. Perhaps Metro should be reminded that "The Old Homestead" and "Uncle Tom's Cabin" are available dramatic works. Yes, the comolacent men at Metro are fumbling around in the dark these days — living in the past and on the strength of their stars' popularity. They permit upstarts like Warners and Paramount to walk off with the most valuable literary properties of the day. They keep Garbo off the screen for over a year after her tremendous success in "Ninotchka." They allow the talented Rosalind Russell to walk off the lot immediately upon the expiration of her contract. Greer Garson must be chafing at the bit for being called upon to play another middle-aged heroine in "Mrs. Minerva," while the veteran Norma Shearer is assigned the role of the gay. young wife in Noel Coward's "We Were Dancing." And now we are to be treated to the sorry spectacle of witnessing the largest, wealthiest and most important company in the film business digging deep into its archives for old stories at a time when audiences are thrilling to the timeliness of "Sergeant York,'-' laughing at "Mr. Jordan," swinging to the rhythm of "Birth of the Blues" and anticipating the electrifying dramatic experiences that will be theirs when theatres begin showing "One Foot in Heaven," "The Maltese Falcon" and "Ladies in Retirement." The weary men at Metro point to the box-office grosses of their pictures as positive proof that their showmanship is as keen and sure as ever. But last Metro figures are beginning to compare unfavorably with the hits from 20th Century and Warners. "Sergeant York" and "A Yank in the R. A. F." will be two of the biggest grossers of the year, yet both these studios have films in the making with modern stories and newer, stronger stars which, coupled with showmanship accelerated by enthusiasm and freshness, may outgross even these two phenomenal hits. The same may not be said of the prospects at Metro. So burdened is the MGM studio with archaic traditions, expensive commitments and burdensome contracts with producers, directors and writers who have stagnated in the dull, sluggish atmosphere in Culver City, that it will require years for new and more alert minds to revify it. How much wiser to begin a housecleaning now. Louis B. Mayer is no slouch at film making. He has not lost his touch or his talent. The man who discovered Irving Thalberg and had the initiative and daring to develop him as the top production personality in the industry's history has merely permitted himself to be surrounded by satellites who are eating off the fat of Metro until there will be nothing left but skin and bones. A shake-UD at this studio is due — it is inevitable and until it takes place no glowing financial report can alter the growing conviction, inside and outride the trade, that Metro's glories are behind it. The future offers only doubt of its ability and suspicion of its claims.