The film daily year book of motion pictures (1944)

made releases was M-G-M's "Random Harvest," which opened in December at the Metropolitan, recently inaugurated de-luxer. It broke all time records for any picture shown in this country, it having grossed S52.000 (Mex. Cy.) over the opening weekend. Warner's "Casablanca,'' released at the Lindavista, and Universale " The Phantom of the Opera," presented at the Olimpia, were other big American-made pictures. M-G-M's GWTW is still playing the neighborhood houses at advanced prices and with substantial success. Native pictures generally enjoyed tremendous popularity to big financial returns. Second only to CLASA Films' "Dona Barbara," Filmadora Mexicana's "Adios Juventud!" was a sensational money-maker since its opening at the swank Metropolitan. The past vear was marked by ambitious undertakings on the part of native producers, who issued such big productions as CIMESA's "El Hombre de la Mascara de Hierro" (The Man in the Iron Mask), produced on a large scale, Pedro A. Calderon's "San Francisco de Asi's" (Saint Francis of Assisi) and "Los Miserables" (Les Miser ables), and Columbus Films' "Crist6bal C0I611" (Cristopher Columbus). Such ventures are s\mbolical of the determination of Mexican producers to take on bigger things with a view to appealing to wider audiences throughout the world. Among important developments in the year just past, must be cited the brothers Grovas' comeback. Jestis and Adolfo Grovas, who founded the producing and distributing organization that is now CLASA Films, reappeared on the field and launched Produce iones Grovas. S. A. with Fernando de Fuentes. Juan Bustillo Oro and Miguel Zacarias as associate producers. As its initial opus Producciones Grovas issued Zacarias' production of "Una Carta de Amor" (A Love Letter), one of the big native hits of the year. The brothers Grovas have a production schedule of no less than eight pix for 1944. the first of which. De Fuentes' "La Mujer Sin Alma" (The Woman Without a Soul) is completed at this writing. They also have branched out into the exhibition business, with a neighborhood house already under construction which will seat over 4,000. Their own associate producers also have gone in with them on this project. Columbia Pictures invested in the Mexican film industry through Producciones Pedro A. Calderon and Producciones Rosas. Pliego y Fallon, both of which concerns made a picture each for Columbia to distribute throughout the world. Columbia also bought worlddistribution rights, excepting Mexico and Southern United States, on Producciones Azteca, S.A.'s initial venture, "La Fuga'' (Flight), and it plans to continue backing other Mexican producers financially in 1944 as well as buying distributing rights on worth while properties made independently. Producciones Azteca, S. A. is one of the producing organizations launched in 1943, with Jose U. Calderon as president, Roberto Eskenazi as vice-president and Jos£ Luis Calder6n as general manager. Its product will be distributed in Mexico and Southern United States through Calderon Films. The company plans to make six pictures in 1944, the first of which, "La Fuga" (Flight), has been completed alreadv. Columbus Films, of which Francisco Hormaechea is general manager, started production activities early in 1943 with "Crist6bal Colon," already mentioned above. Organized late in the year, Olimpia Films, S. A. with Lorenzo R. Sepiilveda as general manager, is already giving the finishing touches to its first venture, "Corazones en Juego" (Hearts at Stake). With Juan Humberto Carreon as general manager, Plata Films made its debut with "Murallas de Pasi6n" (Walls of Passion), ye! to be released. Still another new producing organization, Films de Mexico has a five-picture schedule for 1944. Astro Films, S. A. which also made its appearance last year, turned out as its initial opus a musical comedv, "Hotel de Verano" (Summer Resort). Other producing concerns born in 1943 include: Eureka Films, S. A. de R. L. Clemente Internacional Films, S. A. of which Francisco J. Clemente is general manager, Inter America Films, S. A. headed by Alfonse Sanchez Tello, and Juan Orol's Esparia Sono Films, S. A. whose first opus, "Cruel Destino" (A Hard Fate), has just been finished. As an associate producer with CLASA Films, Mauricio de la Serna distinguished himself by a succession of hits, all of four pix he presented during 1943 having turned out big box-office attractions. Of these, "Internado para Senoritas" (Girls' Boarding School) and "El Globo de Cantolla" (Cantolla's Balloon) proved tremendous monev makers. Mention must be made of Filmadora Mexicana, S. A.'s plans to produce in 1944 two outstanding novels of our generation, to wit, Stefan Zweig's "Impaciencia del Corazon" and Romulo Gallego's "Canaima," on both of which works Filmex, through its farsighted general manager Gregorio Walerstein, managed to secure the screen rights outbidding all other producers both here and abroad. We must also remember here Alpha Films' "Cinco Fueron los Escogidos" (Five Were Chosen), which backed financiallv by the Banco Cinema tografico and released through CLASA Films, was made in both English and Spanish under the direction of Herbert Kline. Producciones Carlos Ezquerro's "Las Calaveras del Terror'' (Skulls of Terror) also deserves mention as the very first chapter serial ever made in the Spanish language. Directed by Fernando Mendez, it made its bow at the first-run Cinema Palacio (with CLASA Films' "El Globo de Cantolla") too late for its