Hollywood Spectator (1937-39)

Page Four May 8, 1937 RITES Ed Schallert in Los Angeles Timess “The all-star cast is becoming more and more a necessity for the big picture in Hollywood. Is this because the fans are spoiled by those which have been offered already? Within a year, if that’s so, it will become more and more difficult, not to say expensive, to assemble the required brilliant aggregations.” Hollywood’s present production policy ultimately must be brought back to a sane basis. Film programs are holding their audiences fairly well now only by the constant upward curve shown on the cost sheet. All-star casts, overpowering sets, great moving spectacles — all are entertainment elements which easily satiate audiences. To fill houses to the paying point, each such item must top the one which preceded it. That means that each must cost more than the one before it. The ingenuity of art directors and spectacle producers by no means is exhausted. They can go on topping their previous numbers if they are given sufficient money. But if they are to be relied upon to keep the industry prosperous, as they are being relied upon now, they never will manage it, for the natural evolution of the million-dollar picture of today is the five milliondollar picture of tomorrow. Money is like dope; the more of it given you, the more you want. Producers ultimately must get over the notion they can make screen entertainment out of money. It is a mistaken idea which even the strong film industry is not strong enough to bear without ultimate collapse. The one ingredient which has the greatest box-office value is one which, as raw material, costs nothing — human emotions. When producers develop sufficient brains to give them an understanding of the nature of the business they are in, they will eliminate bewildering sets and fill the gaps with people with human impulses; their pictures will cost a fraction of their present cost, the public will be pleased and exhibitors will make money. * * * RODUCERS who burned with envy when Darryl Zanuck stole a march on them and signed Gypsy Lee, will point with pride to their higher regard for good taste when public indignation at the insult to decency prevents the showing of a picture with the strip-teaser in it. * * * rHE Dominos Revel, presented two evenings recently , in The Little Theatre In the Garden, provided some rare entertainment. There were twenty skits and blackouts on the program, all of them staged by Gene Lockhart and sixteen of them written by him. And for good measure Gene acted as master-of-ceremonies, weaving the various turns together with a string of witty remarks which made each of his appearances a big item on the program. I have known him hitherto only as an actor, but now I can with confidence recommend him to producers as an exceedingly clever writer of a brand of highclass comedy they could use to their advantage. The whole program revealed a wealth of talent which suggests it would be wise on the part of studios to call home their scouts who are scurrying hither and yon in search of new faces and have the turns run over again for them. Robert Chisholm, handsome, stalwart, a perfect romantic type, possessor of a magnificent baritone voice, contri buted one stirring number which combined rare dramatic acting ability with complete mastery of singing technique. He could be a sensation on the screen if he would go to London and let some scout from Hollywood discover him there. The foolish fellow came to Hollywood in the hope of getting into Hollywood-made pictures. Marek Windheim, a little chap, formerly with the Metropolitan, is an operatic singer with comedy talent the screen could use. Doris Lloyd, whose record of never giving a poor performance on the screen apparently means nothing to producers, does a bit of dramatic acting which held her audience spellbound. Kathleen Lockhart is another who stood out, both her acting and singing being loudly applauded. The whole program was one which should fill a large theatre for many nights, and suggests the thought that Hollywood should have a continuous variety house with Gene Lockhart as its controlling genius. * * * PRODUCERS seem to be giving increasing attention to . the artistic possibilities of opening titles, a wide variety of new and striking treatments having been in evidence lately. Universal has taken a lead, blending movement and composition to attain pictorial results of high quality. A little attention might now be paid by producers to the other end of their pictures. When close-ups first came into use, some bright individual thought it would be a good idea to wind up a screen offering with a screenful of two heads with clinging lips. Not since then has Hollywood developed anyone with sufficient brains to think up anything which would banish the kiss close-up forever from the screen. There should be no conventions in any art. The last impression a picture viewer takes away with him is the last thing he saw on the screen, and Hollywood is stupid enough to make this last impression the same one as he carried away the night before and the night before that. If I were a producer, I would be ashamed to allow a production of mine to go out with the same tag every other producer uses. * * * EIV YORK authorities have put strip-teasers out of business because “such acts are too filthy for New York audiences.” The exponents of this high art of being indecent need not worry. There are always Hollywood studios. Darryl Zanuck, who signed the first one in the person of Gypsy Lee, now has an opportunity to secure another score who are out of jobs, and give us a striptease ballet. Those taking part in it need not be trained. The only qualification is advance publicity, no matter how dirty. * * * CANNY young man named Leon Lord presides over the destinies of Hollywood’s future stars. On Cole Avenue is the Spotlight Theatre. If you hurry you may catch the final performance of House of Madness. June Wilkins, the clever progeny of Paul Wilkins, casting director for Republic, is starred. She, along with most of the other youngsters has something producers want. One mail recently brought thirty-one subscriptions to the Spectator from the Motion Picture Appreciation class of a junior college.