The Film Mercury (1926-27)

Hollywood, Calif. THE FILM MERCURY, FRIDAY, AUGUST 5, 1927 .How the Producers Outwitted the Studio Workers After boiling down the results of the recent conference at the Academy of Motion Picture Arts, held between the various studio workers and the producers, we find that everybody promised to do something to help the situation — except the producers. The stars promised to be better both inside the studio and out, the writers promised to write shorter and more complete scripts (whatever that means) ; the directors promised all kinds of economy and co-operation, and the other workers also prormsed to aid in savihg time and money. The producers, however, promised nothing that is to be rated with importance. They confined their pledges to such dew-dabs as “a research library,” an “institute to perfect appliances tending towards improvements in production,” “a clearing house for stories, etc.,” all of which, boiled down, are merely items thatwill work to the advantage of the producers themselves. In other words, while the workers were pledging reforms that would work directly to the benefit of the producers, the producers promised nothing tangible that would be of personal benefit to the workers. The Film Mercury predicted several weeks ago that this was exactly what would happen. The studio workers have simply allowed the wool to be pulled over their eyes. There are no two ways about it. If the studio workers are dumb enough to think that they have won even a halfway victory ; if they are short sighted enough to believe that they have really stalled off the wage cut, then they are even more dense than the writer imagined, and are deserving of everything that is coming to them. The recent crisis gave the studio workers the greatest opportunity they ever had, perhaps such an occasion will never arise again. The producers had made a terrific blunder in announcing their wage cut scheme. When the workers balked and began to organize, the producers turned yellow, they were licked and they realized it. They had maneuvered themselves into a bad hole and there was no way out of it. f Added to this, the producers’ morale and resistance were gone. They were not even sticking together. They would never have dared to face a serious fight. It was the psychological moment to put the Equity Shop into effect. But the workers allowed themselves to be talked out of it. The Academy of Arts is nothing but a subtle subterfuge. It is the system used by all big capitalists throughout the country to forestall effective organization among workers, viz., the capitalists themselves form their own organization “for the benefit of the worker,” and the workers believe it unnecessary to form an independent fraternity. In other words, if the workers are going to band together, the capitalists prefer to have them in an organization which they can control and dominate, rather then in an organization over which they have no say. The stage producers tried this method in the famous theatrical strike, with the “Fidelity League,” but it proved a failure because Equity was too much for them. The Academy of Motion Picture Arts has tickled the inferiority complexes of the studio workers, because it has allowed them to discuss at a round table, for the first time in their lives, on equal terms with the producers. This perverted mental thrill has hypnotized them into believing they are getting results. But here is what will really happen, and paste this in your hats. The wage cut will go on. In fact, it has already started. Instead of announcing it with loud trumpets, the producers will quietly reduce salaries by two methods. 7age Thr ee Universal Sale Rumors Persist Despite denials from Universal officials, the report persists that a deal is now under way for the taking over of Universal by new interests. Whalen, of the American Tobacco Corp., and Durant, well known automobile man and stock manipulator, are mentioned as being behind the proposition. In a conversation with a Film Mercury reporter just prior to his leaving for Europe, Carl Laemrrile stated that he had no idea of selling Universal. To the contrary, he irr-’ dicated that he was laying1 big plans for expansion during the next few years. If a dedl for the sale of the company is no# under way, it would appear that some item of importance has arisen to change Laemmle’s plans. * * * Metro Company Leave for Military Academy William Haines and Edward Sedgwick left this week for the United States Military Academy at West Point, where they will shoot scenes for Haines’ next M-G-M starring vehicle, which will be a story of West Point. The picture will be directed by Sedgwick. * * * David Mir has been signed by Warner Brothers for a role in “The College Widow,” which Archie Mayo will direct with Dolores Costello starring. Clarence J. Marks On Universal Script Clarence J. Marks has been assigned to do the comedy construction on “Phyllis of the Follies, a story by Arthur Gregor, which will be directed by Ernst Laemmle at Universal. *• * Bert Roach Added to New Metro Production Bert Roach, M-G-M comedian, has been added to the cast of “Mixed Marriages,” a comedy farce co-starring Lew Cody and Aileen Pringle. * * * Anita Loos Arrives at Paramount Studio Anita Loos and her husband, John Emerson, arrived at the Paramount studio this week, to prepare the scenario for the filming of Miss Loos’ book, “Gentlemen Prefer Blondes.” * * * Work Started On New Fox Production “Very Confidential” went into production this week at the Fox Film studio. The picture is being directed by James Tinling as his first directorial effort. The cast includes Madge Bellamy, Arthur Housman, Joseph Cawthorn, Mary Duncan and others. * * * Richard Rosson to Direct F.B.O. Film Richard Rosson, former director for Paramount, has been signed by F.B.O. to direct “Deadman’s Curve,” soon to go into production. 1. By personal interview with the workers, who will be politely asked to take a cut to “help the company out.” It will be put in such terms that the worker will believe himself forced to accept it. 2. By means of not granting the usual raise when the contract options expire. The worker will be asked to continue at the old rate, which will be nothing more or less than a cut. This is the wise course for the producers to pursue, and the plan which they should have devised in the first place, without telling the workers anything about it. It is only necessary for the producers to have an understanding among themselves that they will not bid on any worker under contract to another studio, unless that studio waives all rights. Then "when the worker’s contract expires he will be forced to work at the old rate, due to the fact that he will have no other offers. It’s a pretty little game. And the workers can content themselves with weekly visits to the Academy, where they will have all kinds of pretty research pictures and time saving appliances to play with. TAMAR LANE.