Hollywood Filmograph (Jan-Dec 1932)

HOLLYWOOD FILMOGRAPH 11 ChitChat and Chaffer by Hal Wiener WangerSays Film Chiefs Lack Vision STATES TRADE PAPERS GET WRONG ANGLES ON FILM PROBLEMS In a forceful commentary on film problems, appearing in The Film Daily, in its issue of October 28th, Walter Wanger, veteran production executive, rapped industry heads for lack of foresight and intelligent action. "Those in control of production do not seem to realize that there is an entirely new world point of view which has to be met in picture production," observed Wanger. "This changed viewpoint radically affects the type of entertainment that must be furnished, as well as the attitude of the audience. Artistically, the business must improve." Wanger also declared that the trade journals of the industry critize everything from the box-office angle, and that the result of their influential observations has resulted in mediocre films. Among some of the pertinent excerpts from Wanger's interview are the following .... "The fear to do anything new in the industry has cost the producers millions .... "Our lack of foresight is deplorable .... "Our present position is most opportune, if we will only open our eyes and take advantage of it ... . The creative talent in this industry is wide awake and ready to go places and do things. So let's hope the higher-ups will see the light." Wanger's commentary is too lengthy for detailed report here, but it shows an intelligent view of the ills of the industry today, and should be read in its entirety by all who have not yet done so. Wanger's observations that the trade press is much to blame holds true in the case of certain trade papers that continually talk about "swell hits," box-office wallops," knockouts" and other praiseful phrases about films that are, generally, cheap and tawdry. This is not true of all the trade press, however, and Wanger's indictment shows a generalization that is not justified. Again, Wanger should remember that it is in the power of persons such as he, who have occasion at times to remedy some of the lesser evils, to point the way for their betterment. It calls for combative courage in most cases, but if Wanger believes the medicine is necessary, let him be the first to give a dose of it to the industry insofar as he is able to prescribe. Filmograph welcomes his brave words, and now calls upon him to follow up his words with some real action. BILL CODY RELATES EXHIBITOR'S VIEWS OF CONDITIONS IN INDUSTRY "It's good to be back home," and with these words, Bill Cody, beloved film star of the saddle, settled back to view the present situations now confronting Hollywood. "Since the advent of audible films," he says, "picture themes have developed from the song and dance man to the manufacturing of conversation. "Nothing is left to the imagination of an audience. Dialogue, action, in fact everything is so vividly depicted on the screen, is it any wonder that only a small portion of piclure goers are pleased today? "Now, for instance, if the minimum of dialogue were used, and action of a picture so constructed as to build up to the natural reactions of audiences, more people would have their own interruption of events in pictures — hence pictures would have a stronger appeal and stories would appeal to the imagination of everyone." Bill Cody recently returned from a 20 weeks tour with his Bill Cody Ranch Wild West Show. His outlook on the present situation confronting Motion Picture Producers is founded on his reactions of exhibitors throughout the nation. Exhibitors, he says, don't want trashy drawing room pictures with their silly, brainless, rattle brain dialogue. Stories with an appeal to family life, where father, mother, son and daughter will find equal enjoyment is what exhibitors are clamoring loudly for, he says. We agree with Bill Cody. Let's get behind this movement, Hollywood. After all, it's the exhibitors who bring the pennies rolling into the studio cash drawer. • • m m 9 WRITERS' CLUB PROGRAM GREETED BY ENTHUSIASTIC AUDIENCE Continuing their monthly presentation of one-act plays, the Writers' Club staged a series of four short sketches Wednesday and Thursday nights, Oct. 26 and 27, to an enthusiastic audience. "On the Shelf" by Cristopher Morley, featured Frances Dee, Bob Vignola, Alden Gay, Edyth Raynore, Daphne Darien, Otis Harlan, Gale Gordon and Edward Earle. It was directed by Bob Vignola. It was an entertaining skit, well presented. Maude Fulton's brain child, "Whom the Lord Loveth," was cleverly presented by Kenneth Randall, Sidney Bracy, Kenneth Thomson and Frank Darien. "Held" from the pen of Louis Este featured Jane Grey with Leon Waycoff. "The Farrell Case," one of George M. Cohan's many plays, was well enacted by a large cast including Ernest Wood, Ben Hewlett, Ray Littleton, Lee Shumway, Hal Price, Victor Potel, Nanci Price and Walter Wills. Paul Gerard Smith officiated as stage director on this one. Plenty of comedy here that brought gales of laughter. Mitzi Green also won applause with her famous impersonations. • • • • • C. EDWARD ROBERTS DIRECTS "THE FLAMING SIGNAL" "The Flaming Signal," which is due to bring several thrilling moments to theater patrons in the very near future, is nearing completion as one of the outstanding pictures to come out of the Metropolitan Studios in many months. An original from the pen of William Steuer, the picture among other things, boasts of a "big name" cast. John David Horsley has been awarded the leading role, which is generally conceded as raling among the biggest screen portrayals he has tackled to date. Marceline Day has been chosen to enact the feminine lead opposite Mr. Horsley. Others who will share acting honors include such sterling players as Noah Beery, Henry B. Walthall and Mischa Auer. William Burke, who has given us many thrilling pictures featuring the former M-G-M star canine, "Flash," again will bring his four-footed thespian to the screen as the hero of "The Flaming Signal." C. Edward Roberts is wielding the megaphone on the production while George Akers i» the man behind the camera. Imperial Distribution Corporation, we learn, are to handle the distribution of the picture. John Wray Plays Leading Role in "The Death Kiss" for K B SWorld Wide John Wray, who has been one of the busiest character players in Hollywood, has the leading role in (K. B. S.) World Wide's "The Death Kiss," a fantastic mystery thriller from the pen of Madelon St. Denis. Mr. Wray essays the role of the "Panther," a ruthless, diabolical creature who moves through a maze of murders. The picture is being directed by Eddie Marin. A recruit from the New York stage where he authored, directed and played in stage productions, Mr. Wray has played character roles in some of the most important pictures during the past few years. For Warner Brothers he played successively in "Two Seconds," "Doctor X," "Big City Blues," "The Match King," "Central Park," and "I am a Fugitive from a Chain Gang." "The Death Kiss" is now in production at the California Tiffany Studios. CORRECT VOCAL INSTRUCTION NECESSARY TO STAGE AND SCREEN ARTISTS With the advent of musical productions once more preparing to take the local screens by storm, vocal artists are again much in demand. Excellent vocal talent, though many may be in possession of it, is only developed and perfected through rigid and hard training and v/ith finest instructors as coaches. It was your representative's good fortune in contacting Miss Fannie Francis, late of the Metropolitan Opera House, who voiced some splendid ideas on vocal artistry. Four things are vastly important to a student of voice culture, Miss Francis states. They are: First, Intelligence — the will to study correctly; Second, Ambition — the will to work and study regardless of time spent; Third, Determination — the will to accomplish, and Fourth, Voice or Musical talent. Correct breathing is of the MOST IMPORTANCE to a singer. Through Miss Francis' style of teaching — the style which established her as coach at the Metropolitan Opera House — she corrects and coaches one in a more smooth and natural method of breathing. Her tremendous success in this line of work is what prompted the late David Belasco to trust all of his theatrical talent to her teaching. He realized that correct ennunciation, so necessary to a stage performer, was only available through correct breathing. So it should be with audible screen performers. Talking pictures demand the best of theatrical talent. These performers should not be hindered from giving their best by incorrect breathing. L. E. Behymer realized Miss Francis' value in tone production and diction for singers and stage artists. He knew of her knowledge of what is necessary for careful effect and ennunciation. This is why she is now under his personal management. It would be well worth their time for studios to contact Miss Francis as a means to train their contracted talent. She can be located at 6680 Whitley Terrace, Hollywood, Calif. Her list of proteges would include many personalities, today famous on both stage and screen. If space would permit, we would like to go on and tell who these people are and how they feel toward Miss Francis' method of vocal training. ■ • • • • Pass Racket Hurts Theater Patronage "SERVICE CHARGE" GAG AROUSES RESENTMENT OF EXHIBITORS' CUSTOMER The hard-pressed exhibitors have been trying to figure out new-fangled gags to bring cash customers to the theaters. They have been giving away autos, chinaware, merchandise and other prizes, and they have loaded their bills with double features at heavily slashed admission prices. Such activity has worked untold harm upon the film business, from the studio to the theater. But the gravest error committed by the film business is that wrought by certain owners of small theaters, particularly those operating suburban theaters in crowded communities. Their stunt is to distribute "free passes," supposedly admitting the holder to a gratis entry to the theater on certain nights, or for certain performances. On the face of it, this big-heartedness should forewarn the prospective patron that there is a catch somewhere. But that is not the case. The overjoyed person, believing that he has come into possession of some gratuity from the exhibitor, rushes to the theater in the hope of getting into a "free show." At the box-office, or at the door, he is politely informed that he must pay a "service charge" (usually about 15 cents) before his "free pass" is good. The sucker usually falls for this gag the first time, but he stays away from that theater after that. He quickly realizes that the 1 5 cents "service charge" (minus the small Federal tax that must be paid on all passes) is really a low-scale admission price. So his "free pass" is not a free pass at all. It is just bait. It would be wiser, under the circumstances, for the exhibitor to advertise bargain-night prices at the same scale. This would not leave the patron with the bad taste of having been played for a sucker. ETHIL HILL'S "BLONDES VERSUS RED HEADS" PURCHASED BY INTERNATIONAL PRODUCTIONS Ethil Hill, who has contributed many worth while stories for screen reproduction, has just sold another, titled "Blondes Versus Red Heads" to George Weeks of the International Productions. Miss Hill, being a brunette herself, should know whereof she speaks in this newest original. We understand that it will make a clever program picture. Another of Ethil Hill's writings, the adaptation of "Fur Coats," is, we understand, being considered by two major studios.