Hollywood Motion Picture Review (1937-1940)

Page 2 HOLLYWOOD MOTION PICTURE REVIEW July 31, 1937 Jktbufood w m MOTION PiCTUflf REVIEW JOE BLAIR Editor Publisher Published weekly by Hollywood Motion Picture Review. Joe Blair, Editor-Publisher. Agnes Blair, Associate Editor. Executive and Editorial Offices 1040 North Martel Avenue. Phono: HE. 5982 Hollywood, Calif. Subscription rates $10.00 per year Foreign $15.00 Single copies 25c Vol. Ill HOLLYWOOD, CALIFORNIA, JULY 31, 1937 No. 9 Studio Contacts For Exhibitors ^^ACH year the influx of visitors coming to Hollywood increases in number. A large proportion of these vacationists are bent upon seeing the inside of a studio. A staff of guides is employed at all studios to escort those who can prevail upon some relative, friend or friend of a friend to Issue the sacred pass. Seeing the inside of a studio Is not a difficult proposition if you know the right people. One sightseeing concern pays so much a head for their buses to drive through one of the major lots where the yokels are given a brief explanation of the various standing sets, the stages, cutting rooms, machine shops, etc. Editors, newspaper publishers and syndicate writers descend upon the various publicity JOE BLAIR directors In droves. If the publication they rep resent is sufficiently powerful or Influential, they are admitted, guided all around the lot, taken on the sets, introduced to prominent stars, and shown a good time in general. Another practice also used to gain admittance Is to exhibit a letter of Introduction from some out of town dramatic editor or publisher who has been exceedingly favorable to the studio In key city drives. The studio publicity director knows well enough that unless he takes care of the publication’s requests, it will be useless for him to cover the territory In behalf of forthcoming product. Therefore, the reader can understand the necessity of a staff of guides. All of which, leads to this point. .Just let some Exhibitor try crashing the studio gates! Exchange men all over the country are aware that it is useless for them to give letters to their Exhibitor-customers who might profess a desire to see the factory responsible for the product they merchandise. No other business in the country conducts Itself as does the film industry, in regards to courtesies extended to those who market the product. Imagine an out-of-town dealer of automobiles coming to Detroit and not being extended the courtesy of seeing the factory which produces the cars which he sells. Each studio should maintain an exhibitor contact man. This contact man should be a purveyor of good-will. Upon his shoulders rests the matter of marketing past, present and future product. His enthusiasm could be carried back to every theatre in the country and box-office receipts would handsomely reward those so connected. Exchange managers and salesmen would reap untold benefits. There would be little or no sales resistance from an Exhibitor who is nicely treated by any concern. In addition, the contact man could, in his conversations with Exhibitors, obtain invaluable information in connection with which pictures made money, lost money or broke even. He could sift out the chaff from the wheat. A report first hand would be obtainable for the asking, regarding the type, classification and difficulties encountered in merchandising each picture. This information cannot be obtained from any other source, and it would be of immense value to studio executives in planning seasonal product. It has been my experience time and again, to introduce independent Exhibitors to prominent Hollywood producers and many a producer has exposed himself to glaring example of Ignorance in talking over field problems with the Exhibitor. A studio contact man for Exhibitors and exchange representatives, is a progressive idea and a worthwhile suggestion. FREE TO EXHIBITOR-SUBSCRIBERS Upon request, a photograph personally autographed to you, of any star whose picture has appeared on the front cover of Hollywood Review. Showmen will find a star's personally autographed picture, nicely displayed either in lobby frames or attractively placed in your box-office, an excellent business builder. THIS WEEK IN NEWS Jack Conway is to direct "Yank at Oxford", which was adapted to the screen from an original story by John Monk Saunders. Maureen O'Sullivan has been assigned to play opposite Robert Taylor in "Yank at Oxford", first production to be filmed in Metro-Goldwyn-Mayer's London studio. George Raft's next picture for Paramount will be "Argentine Love," an elaborate musical romance, now being scripted by Joseph Moncure March and Philip MacDonald. Robert Florey will direct upon his return from his current vacation trip to the Orient. "Argentine Love" will have an elaborately diversified setting, opening seguences being presented against the background of the pampas, thence moving to the Broadway night-life belt. James Tinling has been chosen to direct Jane Withers' "45 Fathers" which goes into production next week at 20th Century-Fox studios. Tinling directed "Pepper," "The Holy Terror" and "Angel's Holiday," all starring Jane. Shirley Deane and Paul and Grace Hartman have been assigned featured roles in the picture of which John Stone is associate producer. The original story is Mary Bickel's and the screen play is being written by Frances Hyland and Albert Ray. Grover Jones who wrote the screen plays on "Souls At Sea", "Trail of the Lonesome Pine", and more recently "52nd Street" for Walter Wanger, is now with M.G.M., having signed a term contract as writer and producer. Grover recently began the publication of his own magazine "Jones" which is one of the most talked of publications to hit Hollywood In a long time. It is beautifully printed and high class in every form. Robert Florey, who directed Paramount's "Mountain Music” and more recently "This Way Please," featuring Charles Buddy Rogers, Betty Grable and others, and is now vacationing in the Far East, has been accorded a grand reception by the press and his friends in the Japanese motion picture studios, according to information just received. Florey left Tokio July 27th for a trip covering Manchukuo, Siberia and China. Ramoh Novarro, who recently returned to the screen in the Republic Production "The Sheik Steps Out," is in New York for a few weeks discussing Radio contracts submitted and details of his next story on his Republic contract. He will return to Hollywood within the next three weeks to begin work on the new picture. Louis King has started direction on "Bulldog Drummond No. 2", with the same cast intact, all still in the mood of their characterizations of the first picture of the current series, "Bulldog Drummond Comes Back," recently completed. John Howard, John Barrymore and Louise Campbell again will head the cast, supported by Reginald Denny, E. E. Clive, and J. Carrol Naish. Title of the second Bulldog Drummond picture is not yet set. Screen play is by Edward T. Lowe from an original by H. C. "Sapper" McNeile. Stuart Walker is the producer. Gene Lockhart and Kathleen Lockhart, who played a motion picture producer and fan magazine representative respectively in the Victor Schertzinger musical, "Something to Sing About", have completed their roles and are enroute to New York where Gene will play an important part in "Virginia," the musical production starting rehearsal in the Center Theatre. Lon Young's next picture as associate producer for Monogram will be "Federal Bullets", it was announced by Scott R. Dunlap. Eugene Alan is writing the screenplay.