Hollywood Filmograph (Jan-Jul 1930)

HOLLYWOOD FILMOGRAPH 15 T> Producers Demand $3,365,000 Prop Men Hold Special Meeting Damages From Producers and Others for Ban on Picture Goaded beyond endurance by the concerted attack launched against "Ingagi," Congo Pictures, Ltd., has just filed suit in the local federal court against Will H. Hays, Carl E. Milliken. Motion Picture Producers and Distributors, Inc., National Better Business Bureau, Inc., and others, for damages in the sum of $3,365,000 of which $365,000 is named as actual damage to date, and the $3,000,000 as exemplary or punitive damages. Samuel H. London of Hollywood has been retained as its counsel. The history of the alleged effort to destroy "Ingagi" will be familiar to the majority of readers because of the publicity it has been accorded by the press, as a result of the Hays' ban — so-called — which has been denied by his office but which has resulted in the cancellation of contracts by members of the Hays' group. Congo Pictures, Ltd., claims that "Ingagi" is entitled to the appellation "an authentic record of African adventure" because approximately no more than 15 per cent of the film is studio made. It maintains that this license is granted in even a greater degree to every producer of wild animal or other pictures. The Better Business Bureau has issued edicts against "Ingagi" and there have been, the complainants allege, many channels invoked by those who are attempting to destroy "Ingagi." Nat H. Spitzer, president of Congo Pictures, Ltd., declares that his organization is in the fight to stay and to win and that Congo Pictures, Ltd., is representing, in effect, all independent producers who must, as he asserts, suffer from, what he calls, the trust methods employed by the bigger companies affiliated with the Hays' group. Mr. Spitzer maintains that many pictures passed by the Hays' organization are far more objectionable in character than "Ingagi" and depend upon, what is commonly termed, "sex interest" for their box office appeal. "If," says Mr. Spitzer, "Mr. Hays and his associates are sincere in an effort to cleanse the film industry the independent is with Hays heart and soul. Then let us begin with the official personnel of the organizations named in our suit and continue down the line, including stars and others who have already or may be proven in need of cleansing. I wish to make it plain that we are actuated by the laudible motives generally proclaimed by and attributed to the organizations in question ostensibly seeking to purify the film industry. To this end we are now engaged in tabulating and compiling a large amount of data which may be placed before the public and used as the broom with which to really clean house. "We feel that Mr. Hays and his STAGE AND SCREEN DIRECTOR IS WELL PREPARED FOR MAKING TALKIES JEROME STORM With years of stage work as a background, both as actor and director, Jerome Storm came into pictures when the silent films were all the go and has directed seventy-two features with never a picture on the shelf or not a money-maker for producers. It was his direction of Jack Gilbert at Fox's that gained the attention of the M.-G.-M. and won him his contract. Charles Ray's best work was under Director Storm's eagle eye. FBO had Jerome Storm on their pay roll for some time, as did Hal Roach. He finally directed his first talkie with Hoot Gibson in "Courting Wildcats." Right now he is a free lance director. associates will appreciate the effort to support them and realize that they must suffer from the same conscientious scruples that affect the independent. "If we are forced to expose the film industry, let us expose all producers' methods which permit the use of doubles, both in action and voice, miniatures and glass shots upon the screen and the employment of many studio made 'foreign' scenes and other trick and so-called travel pictures, and not confine it only to the independent. "I claim 'Ingagi' to be clean and extraordinary entertainment and instructive, as well, and I believe that this effort on our part will clarify the situation and awaken the public mind to the evident purpose of the film trust — to destroy any attempt on the part of the independent producer to exist." i i i Universal has acquired the talking picture rights to Tod Browning's, "White Tiger," a story of three crooks and a mechanical chess player. Browning may be assigned to direct his own story. Mary Duncan Plays Fine Part in "Kismet" After a temporary desertion of motion pictures, during which she devoted a season to the Broadway stage, which brought her her first fame, Mary Duncan returned to Hollywood last week and immediately began preparation for the leading feminine role in "Kismet," in which she will appear with Otis Skinner at First National. In order to accept this role, which is considered the most important feminine part in Mr. Skinner's long repertoire of plays, Miss Duncan cancelled a trip to Germany, where she had planned to pass the summer seeking a play that might be translated into English for New York production next season. Her return to Hollywood was marked immediately by offers of roles from nearly every important studio. Whether she will remain to accept them following the completion of "Kismet" or return to New York in the fall in time for the Broadway season she has not decided. Try to Figure Out Harmonious Solution of Present Problems Wednesday evening found the majority of the prop men, employed in the leading studios of the motion picture industry, in session at a meeting which was called for the express purpose of trying to work out a harmonious solution of their affairs inside of the motion picture studios. At the headquarters of Local No. 73 the men gathered and many problems now facing them were taken up. Hollywood Filmograph feels that these men, who are the men of the hour, the hardest working individuals, will eventually become so organized that the producers will willingly standardize their wages so that they can earn a living on a par with any. of the crafts now rendering a service which is making talking picture history throughout the world. The men are not unfair in what they are going to ask of the producers. They are working now on a flat salary, with no overtime. They are the first men on the job in the morning and the last to leave at night. Some of the biggest producers must rely on the prop men to keep everybody straight as far as hand props and details are concerned. This undeniably makes them a worthy craft to keep in a happy frame of mind while they are working. WORD FROM ITALY By G. MAZZAGLIA CUTELLI The Italian public does not like American talkies and is deserting the cinema. Because of the inability of the people to follow the films and understand them, the release of American talking productions is impossible except for silent films. The importation of American films has fallen 30% and will continue further until the dialogue is in Italian. The public refuse to see talkies with subtitles, or announcements to convey the meaning. Up to date, the silent pictures are not sufficient in number to supply the 3000 theatres. The owners of these are in a jam because the public threatens to desert the cinema altogether. Germany and Russia face the same problem and it seems there is no way to avoid this trouble. We want to know when the American producers will realize that the Italian market has always been a silver mine for the producers. EXPERT SECRETARIES FOREIGN LANGUAGES Full Time — Part Time — Emergency COSMOPOLITAN AGENCY Telephone HOllywood 6204 'The Right Person in the Right Place'