Film Bulletin (1942)

■AUGUST 24, 194 2" STUDIO SIZE-UPS BEHIND THE SCENES IN HOLLYWOOD'S STUDIOS COLUMBIA The Ellery Queen series has finally been dropped. Never amounted to much and had become far less attractive to exhibitors when William Gargan took over lead... The life of Jack London, a classic American true story, is soon to reach the screen. It will be picturized by Samuel Bronston, who recently did the screen version of "Martin Eden" incorporating many episodes from London's own biography. Film, which wags call an apology to the great London for the murderous "Eden," will take precedence over Bronston's plan to bring the life of General Billy Mitchell to celluloid. Femme headliners Claire Trevor, Linda Darnell and Doris Dudley have been signed for B. P. Schulberg's "City Without Men" which will have newcomer Michael Duane in the male lead... Continuation of the "Blondie" series is assured despite Robert Sparks' new job on active duty with the Marine Corps. Another producer will be assigned to the group. Two scripts are ready for production — "Blondie Goes to Washington" and "Blondie Goes to Hollywood." Indicative of the new enterprise in Columbia publicity since the advent of Howie Mayer is the neat plant in a Hollywood daily early last week which will probably have been blown to a syndicated story by the time this comment reaches print. The story discloses the "news" that Washington lawyers are urging Columbia to return "Talk of the Town" to the sound stages for retakes on the ending wherein Ronald Colman, Supreme Court Justice, loses the girl (Jean Arthur) to unemployed Cary Grant. Capitol City mouthpieces were reported aghast at the scenarists' conclusions that even a demented girl would turn down a S. C. Judge. Love, they are reported to have agreed, is a funny thing — but not that impractical! You might almost call Columbia the Lockheed of the studios, what with nine pictures shooting at once — a record for the year! IN PRODUCTION— "The Desperadoes" (Randolph Scott-Glenn Ford), "Commandos Come at Dawn" (Paul Muni-Anna Lee), "Something to Shout About" (Don Ameche-Jack Oakie), "Underground Agent" (Bruce Bennett-Leslie Brooks), "How Do You Do" <Bert Gordon-Jinx Falkenburg), "Ride, Mountie, Ride" (Russell Hayden-Bob Wills), "The Frightened Stiff" (Loretta Young-Brian Aherne), "Junior Generals" (Freddie Bartholomew-Huntz Hall), "City Without Men" (Linda Darnell-Claire Trevor). METRO-GOLD WYN-MAYER Exclusive! "Metro-Goldwyn-Mayer presents!" That will be the billing for the revival of "Show Boat" which is planned for a fall opening in a Broadway legitimate theatre. The step is unprecedented in that MGM will be the first movie company to eliminate the dummy corporation which, in the past, has camouflaged Hollywood's activities in the New York theatre. Move is far-reaching in view of the fact that it was only three or four seasons ago that the picture companies withdrew financial support from the legitimate theatre after a prolonged period of confusion resulting from authors' disagreements with management. New agreements reached between the two factions brought about Hollywood's re-entry into this branch of show business — but strictly on the q. t. MGM move, if successful, may mean wholesale activity by studios along the Great White Way in the form of tryouts of prospective movie material. In the main, however, out-in-the-open movie coin will be appropriated only when all rights are owned by the studio doing the financing. That is the case with "Show Boat" and MGM. Silent partner deals with recognized Broadway impressarios will continue where film rights are in the open market for the very simple reason that studios will find operations con siderably cheaper when working through a front whose pocketbook is known to have cotton lining — not Hollywood silk. Exclusive! For some weeks Studio Size-ups has been reporting the changes taking place among the headliners on MGM's contract roster. Apparently a concerted move is underway to bring as many stars into the company as prudence permits. Close on the heels of the signing of Irene Dunne and Mary Astor, we learn that Marlene Dietrich has been in close contact with the studio, discussing a long term contract which may eliminate her from the starring role of a Broadway musical planned by producer Cheryl Crawford. Also on the talent front is the rumor that Orson Welles and MGM's Eastern office have been talking a deal. Ann Harding is sought for the title role in "Madame Curie," once planned for Greta Garbo. Gracie Fields has been signed for "The Man from Down Under" in which she will be co-starred with Charles Laughton, another new MGM contractee. The leading man situation has been a source of considerable anxiety to all studios, but MGM is attempting to meet it by aggressive tactics. Studio is combing all little theatres, Broadway, radio, vaudeville, etc , thoroughly, besides viewing the men available in Hollywood. The company has even been brash enough to call other studios for tips on male players whose options are due and who might be dropped. The star system, so long the backbone of MGM's operations, is to receive no setback during the war if the men in charge can offset it. Apropos of Clark Gable's joining the Air Corps as a buck private, Douglas Crane, former FILM BULLETIN reporter, now a Private First Class with the Coast Artillery writes, "There won't be anyone left in the movies! I am waiting for a snappy musical with George Arliss and Betty Grable, or Lionel Barrymore with Judy Garland in 'Romeo and Juliet'." There may be more truth than humor to PFC Crane's remarks, but in a sense the magnificent underplaying of Gable is one of those things of which the picture industry may well be proud. Coming close behind the Tony Martin scandal, Gable's lack of pretension and obvious sincerity did much to offset a growing antagonism to Hollywood stars. Gable wanted no part in string-pulling that might have won him a commission, preferring instead to work his way up. Film business has been good to Gable and he has repaid if in kind by his dignified and patriotic conduct. There was quite a furore in Hollywood a few months back when your reporter had the temerity to "step out of line" and suggest the withdrawal of Paramount's "Louisiana Purchase" from the South American market on the grounds that the film gave an erroneous impression of American politics at a time when we could ill afford to jeopardize our good neighbor policy. Quite a number of men in the studios took the viewpoint that it was none of our business and exhibitors should not concern themselves with such weighty problems! However, the Co-ordinator of Inter-American Affairs office figures that the War is everybody's iob. MGM's "Panama Hattie," Warners' "Juke Girl" and PRC's "City of Silent Men" will not be shown in Latin-American countries "Hattie" shows members of the armed forces in a bad light, while both "Juke Girl" and "Citv" show lynchings. Moral of the triple ban is that Hollywood, in the future had better not count on foreign revenue in instances where films deal cheaply and melodramatically with social issues. Yes, and we do think it is the business of a trade paper to tell Hollywood when it makes a picture that might be injurious to the national welfare! Jack Chertok becomes production chief of thp Motion Picture Society for the Americas on September 1. Chertok will continue with MGM, doing features with his assistants handling the shorts department. . .Producer George Haight has a new contract and "Women in Uniform" as his next picture. It will star Joan Crawford... "They Were Expendable," title is a quote from a Navai