Motion Picture Daily (Jan-Mar 1934)

MOTION PICTURE DAILY Tuesday, February 6, \f. Schenck Sees Benefit In British Challenge Hollywood, Feb. 5. — Joseph M. Schenck, returning from New York, said he intends to make cooperation rather than opposition the answer to England's challenge to Hollywood. Immediately upon his arrival he began making plans for interchange of stars, production executives and technicians with London Films, with which he formed an alliance in behalf of United Artists during his European visit. "England by quality is compelling Hollywood to recognize its importance as a factor in screen production," said Schenck. "This does not mean Hollywood is losing supremacy as the dominating center of world production, but the challenge is a serious one requiring Hollywood to be on its mettle. We must accept this competition in friendly spirit for mutual benefit on both sides of the Atlantic. This competition will make Hollywood more alert." Schenck said he, together with Darryl Zanuck, welcomed British rivalry and intended to foster it by interchanging talent. Green Sees Revolt In Creative Ranks That creative talent in the films will soon blow off the lid in its demand for a new deal is predicted by Paul Green, the playwright, in an article in the New York Times. Says Green: "The hundreds of dissatisfied creative minds, whose sole job day after day is the making of money for bankers, millionaires and stockholders, will some day— and very soon at that — break into open revolt. There is no price large enough, no iron or stone strong enough to keep a rebellious spirit indefinitely enslaved. "Already a few independent producers, writers and artists are trying experiments in creating pure forms of cinematic art, both here and abroad. And just as the imaginative theatre has had its Appia, its Stanislavsky, and Craig, so will the new imaginative cinema have its apostles and philosophers who, following the lead of Charlie Chaplin, will give to the art, a statement of form and method. "And when this new art has broken itself loose from the industry and professionalism of Hollywood and started on its own path, we shall see moving picture dramas worthy of the name." Warners Sign Clive Colin Clive yesterday was signed by Warners to appear in "The Key" with William Powell and Kay Francis. The actor, now appearing opposite Katharine Hepburn in "The Lake," will fly to the coast Sunday. Leo Morrison's office closed the deal. Palace Deal Off Negotiations for the Palace are off between RKO and Harry Shiftman and Jack Schwartz. Contracts have not been signed for the Cameo and the independent exhibitors are not yet operating. NOW AVAILABLE FOR THE STATE RIGHT MARKET DO WHITE MEN 00 NATIVE IN THE JUNGLE IDEAL PICTURES CORP. M. J. KandeL, Pres. 729— 7th Ave. New York Looking 'Em Over "Fury of the Jungle" {Columbia) Though "Fury of the Jungle" has all the familiar twists that have come to be expected of films set in the jungle country it is a suspenseful and rather well-done piece of work. Then, too, there is plenty of firstrate acting. Alan Dinehart, as black a villain as ever bulldozed his way through celluloid, is the head man of a jungle cesspool. He makes the laws and enforces them to suit his own purposes. Among those in the settlement are Dudley Digges, a sodden doctor, and Donald Cook, hiding from the law over an affair involving a woman. When Peggy Shannon, traveling up the river with her fever-racked brother, puts up at the settlement so that the latter may obtain medical attention, Dinehart and his right-hand man, Harold Huber, go for her. Cook becomes attached to her and Dinehart and Huber try to get him out of the way. But Cook comes out on top. Huber is treacherously killed by Dinehart, who in turn is thrown into the crocodile-infested river in a struggle with Cook. The film has a number of exciting moments and the atmposhere is good. Clarence Muse and Toshia Mori are other players. Roy Neill is responsible for the direction. MOTION PICTURE DAILYS HOLLYWOOD PREVIEW "Men in White" (M-G-M) Hollywood, Feb. 5. — Fine entertainment, done with strokes that lift its touching story completely out of the hospital background atmosphere and makes it an absorbing feature. Intelligently directed by Richard Boleslavsky so that all the subdued power of the Sidney Kingsley stage play is retained, it presents Clark Gable as a sersatile actor and Jean Hersholt, Myrna Loy and Elizabeth Allen in excellent performances. The plot has Gable, young interne protege of Hersholt, famous doctor, torn between two desires — years of study and a career devoted to service of humanity and love or marriage and happiness with Miss Loy. Saving a child's life leads to a clandestine romance with a student nurse, Miss Allen, as the disappointed Loy spurns his bid for a date. Internal conflict raging, Gable would junk everything and marry Miss Allan. An operation necessary on the critically ill nurse finds her begging Miss Loy to consider her lover and his career, as Hersholt adds his plea that she does not stand in the way. As Miss Allan dies on the operating table, the true woman is evidenced as Miss Loy asks Gable why he did not come to her. The climax has Miss Loy sacrificing Gable to his career, hoping that some day they will meet in Vienna, where he will study further under Hersholt. The heavy mood of the story is lightened by well-chosen comedy sequences with Wallace Ford and Russell Hopton. While there are no smash scenes building to climaxes, suspense which counterbalances action and dialogue, continually holds interest at a high pitch. Cast names, plus human interest theme of the story, which majors in sympathy and pathos should insure popular reception from classes and masses. 7 (Continued from page 2) sons ago. "Theatres with less th; normal admissions could raise the on big pictures and do the san volume of business they are no doing at sub-par scales," he d clared, adding: "Low prices do n> attract any additional patronage fi the 'turkeys.'" Maybe, yes ; maybe, no. Low ar missions, reflection of the time continue to prove attractive an while it may be true that big pi> tures will stand tariff increases, t\ experiment on a wholesale sea easily may prove to be a dubioi one. Aside from all that, why not gi\ the public a break when wortl while attractions come along? Tl rank and file are asked and gene ally have been supporting picture many bad, within their shorten? means. Why sock it in when tr good ones go on parade? A STORY— short, the point and complete of itself"Years ago when the industry was growing, I preached against its going into the stock-jobbing business and branching out into alien fields. The crash came and my warnings were justified. If the film industry stays in its own field and cultivates its own vineyards, it will reap success because it is sound, stable and legitimate." A. H. Giannini, chairman of tl executive committee of the Bar; of America, is talking. This ban! er. long a friend of the industi and true to his tenets by financin production to the tune of million gives the industry the benefit of long experience and fruitful expe ience. Will the business take it? If does, if it remains sensible ar within the confines of modesty, a will be well. If it does not, sonr where in the years to come will 1 another 1929. Has the lesson of the depressic been learned? All those to whot this industry means something wi pray so. Fervently. K A N ; Columbia Film Is Set "It Happened One Night" is tent; tively set for the Music Hall, star ing Feb. 22. Plan Cleveland Club Cleveland, Feb. 5. — John Harris of Pittsburgh, national Variety Club president, will meet here at the Staffer on Tuesday with a group of local film men to form a Cleveland Varietv Club. Those asked to attend the meeting include J. E. Fontaine, Paramount district manager ; Frank D. Drew, M-G-M branch manager; I, J. Cchmertz, Fox branch manager ; Nat Wolf, Warner theatre division manager ; Nat Holt, RKO district manager ; George Roberts, Fox district manager ; Harry Howlett, WHK studio manager; Fred Meyers, The News; E. C. Flanigan, exhibitor, and M. B. Horwitz, exhibitor. fim/ae