The Film Daily (1942)

Monday, December 28, 1942 Trade Slow in Asking WMC for Essentiality (Continued from Page 1) mittee could sensibly hold the . production of motion pictures essential, but not the showing of them, an official of the committee admitted that the question had "a good deal of logic," but pointed out that the committee has as a matter of policy disregarded the distribution of goods in making its indices of essential jobs. This policy, he said, has been followed because no great skill is required for the majority of the distributive jobs. He admitted that the story was different when it conies to projectionists, cutters and handlers in film exchanges, but repeated that the committee had not been approached, nor had any WMC official, to his knowledge. He did not feel that the chances were bright that the committee would list any of these jobs, since policy is against it, but would not deny that there is the possibility that some exceptions might be made. This slight possibility looms much larger in the face of growing sentiment for a national service act, which would empower the United States Employment Service — as a part of the WMC— to force the shifting of -workers from jobs not listed as essential to war industries. The WMC has not been talking too freely of such legislation, but it is known that many on Capitol Hill are thinking about it. U. S. Employment Service representatives have been in Hollywood studios already, trying to persuade the workers to transfer to war production. The studios have been powerless to prevent this in the absence of official notification that the industry has been declared essential. Such notification is now believed to be on the way to the Coast. It could not be confirmed here, but it is believed that USES representatives have also been in theaters and exchanges to try, to induce employes to leave for direct war work. These efforts will be intensified, rather than relaxed, unless these branches of the business should be declared essential. Even in that event, only a few workers in each establishment would not be approached. Without such a declaration from the WMC, all workers in exchanges and theaters will be open game for new job lures, and will be liable to the provisions of the proposed national service act — on labor draft. The same is true for film laboratory workers, although it is reliably reported that three laboratory jobs have been declared essential. WMC would not confirm this, but The Film Daily has it on good authority that timers, developers and technical engineers have been listed as essential. reviews of new fums "Dawn on the Great Divide" with Buck Jones, Rex Bell, Raymond Hatton Monogram 63 Mins. JONES' LAST FILM SHOULD DRIVE HIS ARMY OF FANS TO THEATERS FOR HNAL LOOK AT STAR. "Dawn on the Great Divide" will remind western fans of the loss of one of their greatest heroes — Buck Jones. The thought that the star is dead, a victim of the Boston Cocoanut Grove tragedy, will rob them of full enjoyment of the picture, the last one to be made by Jones. Yet they should troop to see the film since it provides them with their final look at a performer who has contributed so much to their entertainment. In "Dawn on the Great Divide" Jones is the same reliable western performer whose popularity catapulted him to a high-ranking place among stars of boots and saddle. He may not go all-out for action as in his other pictures, but he retains all the effectiveness of his past performances. The action involves villainy perpetrated upon pioneers traveling to Oregon to lay the tracks for the new railroads. Suspicion falls upon the Indians, but Jones, a Government man assigned to investigate the situation, takes a job as a wagon-train guide to get at the truth. He soon finds out that a gang of white cutthroats are at the bottom of the dirty work and that the Injuns are innocent. Jones swings into action and in due time has the villains where they belong. James Oliver Curwood's "Wheels of Fate" supplied the idea for the Jess Bowers screenplay, which represents the skillful handling of a routine theme. Howard Bretherton's direction keeps the film moving steadily to its goal. The picture was produced by Scott R. Dunlap, who was severely injured in the nightclub fire which took Jones' life. Jones is surrounded by a capable group of players, among them Rex Bell, Raymond Hatton, Mona Barrie, Robert Lowery, Harry Woods, Dennis Moore, Betty Blythe. CAST: Buck Jones, Rex Bell, Raymond Hatton, Mona Barrie, Robert Lowery, Harry Woods, Christine Maclntyre, Betty Blythe, Robert Frazer, Tristram Coffin, Jan Wiley, Dennis Moore. CREDITS: Producer, Scott R. Dunlap; Director, Howard Bretherton; Screenplay, Jess Bowers; Musical Director, Edward Kay; Cameraman, Harry Neumann; Film Editor, Carl Pierson. DIRECTION, Good. PHOTOGRAPHY, Good. Lesser Names Margolies On "Canteen" Campaign Sol Lesser has appointed Al Margolies to plan, supervise and coordinate the New York publicity campaign on "Stage Door Canteen." He will work with Jerry Dale, Lesser's publicity chief, and David "Skip" Weshner, director of publicity and advertising for United Artists, distributors of the picture. Margolies will continue to function as press representative for Jack Skirball and the latter's forthcoming Alfred Hitchcock production, "Shadow of a Doubt." "Sherlock Holmes and the Secret Weapon" with Basil Rathbone, Nigel bruce Universal 68 Mins. LAitif HOLMES ADVENTUkE HAS SUFFICIENT iUSKENSE TO SET IT WELL o.« UUUtiLE BILLS. tnemy agents again occupy Sherlock Hoimes attention in "Sherlock Holmes and .ne Secret Weapon," a film which should .j nicely on the lower half of double bills respite its mildness. Howard Benedict, me producer, has slanted the film well for audineces in the smaller spots. The big drawing card is still Basil Rathbone, who does another one of his smooth jobs in .ne role of the sleuth. This time all the fuss is over a bombsight invented by a Swiss. The Germans want the gadget at any cost because through its use the British, to whom the inventor (William Post, Jr.) has made his Drain child available, can blast the Nazis to smithereens. The fellow who carries out' the Nazis' dirty work is a treacherous englishman (Lionel Atwill), a notorious .riminal. In spite of every effort to safeguard the inventor the man falls into Atwill's hands. Atwill puts him to some fancy tortures in trying to get hold of .i£ bombsighr. In solving the case Sherlock is brought to grips with Atwill. In .he suspenseful climax the detective is in the power of the Nazi stooge, who tries an extremely devilish means of disposing of his prisoner. Sherlock is saved just in the nick of time by Doctor Watson (Nigel Bruce) and Scotland Yard. Edward T. Lowe, W. Scott Darling and Edmund L. Hartmann did a pretty good job with the screenplay, which is based on an adaptation by the first two. The source of the script is Sir Arthur Conan Doyle's story, "The Dancing Men." The direction by Roy William Neill sustains the mood of the story capably. Good acting does much to put the film over for the type of audience for which it is intended. Players appearing with Rathbone, Bruce, Atwill and Post include Kaaren Verne, Dennis Hoey, Holmes Herbert, Mary Gordon. CAST: Basil Rathbone, Nigel Bruce, Lionel Atwill, Kaaren Verne, William Post, Jr., Dennis Hoey, Holmes Herbert, Mary Gordon. CREDITS: Associate Producer, Howard Benedict; Director, Roy William Neill; Screenplay, Edward T. Lowe, W. Scott Darling, Edmund L. Hartmann; Adaptation, W. Scott Darling, Edward T. Lowe; Based on story by Sir Arthur Conan Doyle; Cameraman, Les White; Art Director, Jack Otterson; Musical Director, Charles Previn. DIRECTION, Good. PHOTOGRAPHY, Good. Fred Bellin Joins Astor As Assistant to Savini Fred Bellin has joined Astor Pictures Corp. as assistant to the president. In addition to serving as right hand man to President Bob Savini, Bellin will take over the executive duties of William J. Figuero, treasurer, who is now with the U. S. Marine Corps. Bellin formerly was an executive of Tiffany and Spectrum and has been in the industry for many years. Myers Asks Ceiling On Film Rentals (Continued from Page 1) tinued, the information suuplied by the Allied Caravan will play a^rvjor part. He added that suppov^^Jt the program should intensify and spread through 1943. Myers asserted that the exhibitor associations have their work cut out for them, particularly because of transportation conditions which are growing more acute. They should take up with the exchanges the matter of insuring against missouts, he said. He recommended that a limited number of emergency films be located at strategic points so as to be available in case a booked film is not received. Taking note of the terrible holocaust in Boston, Myers said that the organizations should work out with and for the members adequate safety measures for all emergencies. It is regrettable, he continued, that the OCD booklet was devised with the advice of a volunteer group of large theater operators and consequently is not very helpful for those theaters having less than 10 employes on duty at all times. Continuing, Myers said: "Most important of all, exhibitors should strengthen their associations so that they can muster their maximum strength, best brain power and influence in resisting demands for exorbitant film rentals, in combating the increasing tendency towards political censorship and bureaucratic domination, and in preserving in business the independent exhibitors despite a wartime economy which tends to favor big business as against little business. "This is a tough assignment but no one. who has studied the history of the motion picture business and knows the amazing versatility and resourcefulness of the exhibitors can doubt that the job will be done. They would no sooner think of giving up their fight for a place in the sun — for the right to carry on their operations as independent business men — than they would think of surrendering to Hitler. The next holiday season will find them doing business at the old stand, not, perhaps, 'as usual,' maybe with their belts drawn a little tighter, but supplying the basic entertainment of the American people which is even more necessary in war than in peace." Myers paid special tribute for the organizational contribution of Allied leaders, including President M. A. Rosenberg, Col. H. A. Cole, Sid Samuelson, Jack Kirsch, Martin Smith, Roy Harrold, Maxwell Alderman, Joe Reed, Harry Lowenstem, Lee Newbury, Joe Conway, Frank Horning, Meyer Leventhal, RajBranch, Pete Wood, Don Rossiter. Fred Herrington, the Walkers and Beedles, Bill Ainsworth, Harry Perlewitz, Ernie Peaslee, Fred Strom and many others.