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HISTORY MAKERS OF 1937
Mayer was right up on the line in the big GB contest; made one particularly long run in the third quarter to England (re production there).
• DARRYL F. ZANUCK •
Meet the nemesis of the radio commentators who speak loud, wrong and disparagingly of filmland and its players. Last Autumn, in his official role of president of the Film Producers Association, Mr. Zanuck took to task the ether dirt-dishers in vigorous and commendable
fashion. His stand naturally was supported by MPPDA, and soon after cards were issued for admittance to studios, thus curbing and checking commentators. He studied British pix-making, having already a master's degree in the American end of this profession. At 20th Century-Fox studios, he kept a firm hand on the reins, providing product that enabled sales force to forge well ahead. At the year's end, had "In Old Chicago" ready as the company's greatest effort.
• JACK L. WARNER •
"Give the producers a fair shake and don't try to see how you can bargain to buy product," he told more than 400 listeners, including a large and representative group of exhibitors, at the WB annual sales meet held last May in New York. On that occasion he casually stated that six of the company's 1937-38 pix would cost more than was formerly spent a few years ago on an entire season's product by many companies. His audience knew just what Jack meant when Ihey saw a legion of monumental pix come forth from the WB plants at Burbank and Hollywood, drum-majored by "The Life of Emile Zola."
• JACK CORN
When voices were raised in high crescendo re the evils of double bills, it took considerable conviction and courage for any film magnate to compete with the chorus. This one not only made himself heard, but definitely. Said right out boldly that the public wants duals. Subsequent polls on the subject substantiated his opinion in many instances. Was re-elected vice-president of his company. Headed up the executive end of the home office with characteristic ability. Migrated temporarily to Europe, surveying the foreign field thoroughly and returned to New York in time to see the new season efficiently launched. Entering New York harbor, he is reported to have believed the season had already started for his outfit, but as the mist cleared he perceived it was only the Statue of Liberty and not his organization's trade-mark.
• CHARLES R. ROGERS •
As the second year of the New Universal waxed, pix people and public alike wondered what this executive v.p. in charge of production was going to do by way of a feature that would out-Godfrey "My Man Godfrey." They were not long in suspense, as on myriad screens flashed the initial Deanno Durbin classic, "Three Smart Girls." Said those in whom sprout the seeds of speculation, "How can that be topped?" Charles R. and his lieutenants bided their time, and up jumped "100 Men and a GirL" In between rounds there were other numerous productions fabricated under the Rogers guidance and the result was to the credit and profit of the New Universal. Every now and then he journeyed to the home office from the Coast, the climax occasion be
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