Motion Picture Daily (Oct-Dec 1952)

4 Motion Picture Daily Friday, October 31, 1952 AMPA Hears (Continued from page 1) evieiv RKO Radio Pictures, speakers included Miriam Brandon, press book and feature writer for RKO Radio; Vivian Moses, RKO press book editor; John Springer, RKO magazine contact; Ralph Martin, promotion manager of Seventeen; Audrey Soracco, Cowles promotion department representative for Look and Quick; John Crockett, advertising manager of Coronet, and William J. Reilly, public relations director of American Weekly. The topics discussed were: "How To Write All Types Of Publicity Stories" ; "The Function and Uses of a Press Book" ; "Contacting the National Magazines for Mutual Interest" ; "How One National Magazine Helps Promote Pictures" ; "The Power and Effectiveness of Magazine Promotions in Pre-Selling Pictures ;" "What Magazines Are Doing in Pre-Sellmg Films" ; "The Importance of the Motion Picture Industry to the Sunday Supplement." Crockett, presented a study made by Coronet's research department showing that four out of five adult film goers are magazine readers. Newspaper advertising is the timetable of the motion picture industry, he said, but magazines tell you where to go in advance. Jesse L. Lasky addressed the class on the subject of "A^ Producer's Appreciation of Promotions." Martin discussed the film habits of Seventeen's market, girls of 13 to 19, who, he said, had been forced into a semi-adult status because of world conditions and a more complex society. They are not interested in "kid type pictures, adolescent type pictures, adolescent type stories but real life dramas, comedies, musicals, romances — and, yes, even problem pictures." He revealed that a recent A. J. Wood & Co. poll of over 2,200 teen-age girls showed that films ranked first on the list of items they buy. He opined that these girls, about 7y2 million of them who have about 3.7 billion dollars a year > to spend, are the "No. 1 movie fans." Miss Soracco detailed Look Magazine's exploitation of films, using posters, banners, Look covers,_ tearsheets, trade releases and other displays. N. Amsterdam Suit (Continued from page 1) "Million Dollar Mermaid" (Metro-Goldzoyn-Mayer) L'STHER WILLIAMS stars in this resplendent swimming extravaganza which utilizes a fictionalized Annette Kellerman story and opulent color bv Technicolor and should prove an immense success at the box-office. A stellar cast, including Victor Mature, Walter Pidgeon, and David Brian, perform well under the excellent direction of Mervyn LeRoy, and the overwhelming swimming numbers are set off by proper emphasis of ' the drama and romance in the Everett Freeman screenplay. The impact of spectacle is attained without sacrificing pace or interest and the production numbers, especially the Busby Berkeley-staged fountain and smoke number, have rarely been matched in their color, imagination, size, and splendor. Arthur Hornblow, Jr. rates kudos for the production. Miss Williams, who swims, dives, and does undewater ballet as superbly as ever and looks beautiful in a variety of form-caressing bathing suits is presented as an Australian girl who became a champion swimmer after successfully battling physically handicapped legs in her youth. With her father, Walter Pidgeon, she goes to London by boat when poverty causes him to seek employment there with a music conservatory. En route she meets Mature, a fast-talking promoter, and his assistant, Jesse White, who have a kangaroo that boxes to promote. _ • When the employment opportunity disappears and Pidgeon is forced to work in a saloon, Miss Williams agrees to swim the Thames as a publicity stunt for Mature's kangaroo. She succeeds while crowds cheer her on and she goes to New York with Mature to gain employment at the Hippodrome. Hippodrome impresario Brian cannot use her so she and Mature agree to ballvhoo a resort but Miss Williams appears in a one-piece suit which results in her arrest for "indecent exposure." This turns out to be a boon for she is acquitted and then stars in Mature's own aqua show. Complications arise which cause a rift between Mature and Miss Williams. She ooes on to star for Brian and eventually agrees to marry him after making a Hollywood film. However, a production catastrophe causes her hospitalization with a spine injury and Mature, newly successful as the manager of RmTin-Tin, finally wins her. . Tesse White provides some fine comic relief. Maria Tallchief contributes some ballet as Pavlova. Others in the cast include Howard Freeman, Charles Watts, Wilton Graff, Donna Corcoran, James Bell, Frank Ferguson, James Flavin, and William Bouchey. Runnino time, 115 minutes. General audience classification For December . ° Walter Pashkin release. RKO's Grant (Continued from page 1) TOA's Bid (Continued from page 1) terprises, Inc., which acquired ownership of the theatre in 1937, the Andwell Amusement Corp., which leased it from 1937 to 1947, and the Aiicore Amusement Corp., which leased the theatre from 1947 to the present. In the complaint, Ansco seeks damages of $1,332,000, Andwell, $7,755,000, and Ancore, $2,808,000. Among other measures of relief sought, the suit asked the court for a permanent and temporary injunction to distributor defendants, barring them from the "unnatural scarcity of firstrate features." Representing the plaintiff was the law firm of Weisman, Celler, Quinn, Allen and Spett. neither Eric A. Johnston, Motion Picture Association of America president and Arbitration Conference host, nor Henderson Richey, Conference secretary, received from Starr a formal request for a meeting to consider the TOA recomendations. Thus, it turned out, Starr's bid was made only in the form of a statement to the press. January Likely It appears now, according to industry observers, that another all-industry conference on arbitration or a meeting of the arbitration drafting committee will not take place until December or January, most likely in the latter month in view of the possibility that each and every TOA and Allied unit will want time to meet and act on the draft individually. Thus far, five of TOA's 20 units have approved whatever arbitration plan TOA leaders ultimately sanction. No Allied units have acted in this connection. Christmas Salute' (Continued from page 1) Walt Disney (Continued from page 1) enlighten and educate these film-goers. In his address, Dunham defended Westerns as depicting a part of the American way of life. On the subject of television programs, Dunham observed that there is considerable room for improvement from a quality standpoint. He foresaw much groping by TV for the kind of educational program that would continually interest televiewers and he warned that such programs "must never attempt to go commercial as their aims would be lost." increase the yield in this year's campaign," said Montague, "is immediately understandable when one examines the mounting costs of operating such an institution. "We are proud that the hospital management still is able to maintain its low per-case cost, which is almost half that of the national average. This is indeed a tribute to the technical skill and the executive management to be found at Will Rogers. "It is gratifying to know that when one contributes to this cause he can be assured that his money will be put to maximum good use in the battle against tuberculosis, and that the benefits are concentrated on 'our own' in the entertainment field. "But costs are rising, and_ everyone who has any kind of a job in the industry must deem it his personal obligation to give more than before. M\ employes have a stake in the Variety Clubs-Will Rogers Memorial Hospital, and all share its success, its protection, and its responsibility," Montague concluded. The goal of the 1952 Christmas Salute is 150,000 signers of the scroll, to produce more than $200,000. Avalon to Green Group Berk and Krumgold, in association with George A. Bowman and Co., Inc., brokers, have consummated a long term lease with an aggregate rental of $200,000 for the 1500-seat Avalon Theatre in the Bronx, N. Y. The lessee is a corporation headed by Joseph Green, New York circuit operator. The theatre is presently being completely rehabilitated, and will open with a policy of vaudeville and pictures. RKO executives in whose honor the luncheon was given. Grant, one of the two main speakers at the luncheon, said that he could not assure exhibitors that RKO's films would not be sold to home TV "forever in the future," claiming that new innovations two to ten years hence may make such sales non-competitive to motion picture theatres. He cited Cinerama as one of a number of possible art forms which may develop so extensively in theatres across the country that the sale of current theatrical films to TV would not be competitive. Elucidating on the television theme, the RKO board chairman expressed confidence that the industry, which had survived many competitive mediums in the past will meet the current competition of home television. The highlights of Grant's remarks were in answer to a series of questions propounded to him by Harry Brandt, president of ITOA, in his invitation. Similar questions were raised by trade reporters in the past and brought forth similar responses from the RKO chief executive. No Liquidation He again scotched reports of any intention to liquidate the assets of RKO, stressing that the job of the new management was to revitalize the company. Grant acknowledged the company was in "temporary distress" and called upon exhibitor support during the current period, which he saw lasting from six months to a year. Another speaker, Emanuel Frisch, president of the Metropolitan Motion Picture Theatres Association, expressed confidence in the team of Grant, Picker, Boasberg, and Branson. Such a team, Frisch predicted, will produce, distribute and publicize the kind of product needed by exhibitors. Brandt presented an album to the three RKO executives, containing congratulatory wires and letters from exhibitor leaders throughout the country. Besides the above-mentioned speakers, the following guests were on the dais: Charles Skouras, Harry Arthur, Gordon Youngman, Bernard Kranze, Ted O'Shea, Bert Stern, William Namenson, J. Joshua Goldberg, Bert M. Stearn, Morey Goldstein, Sidney Lust, Solomon Strausberg, Spyros S. Skouras, Jr., William J. German, William H. Clark, Wilbur Snaper, Harry M. Kalmine, Richard F. Walsh. Herman Robbins, Fred J. Schwartz, Samuel Pinanski, Walter E. Branson, Charles J. Feldman, Arnold M. Grant,, Harry Brandt, Arnold M. Picker. Joseph R. Vogel. Al Schwalberg, Charles Boasberg, Sol A. Schwartz, S. H. Fabian, Milton C. Weisman, David Weinstock, Richard Condon, Walter Reade Jr., Maury Miller, Samuel Rinzler, Leo Brecher, J. J. O'Leary, Theodore Black, Leon Rosenblatt, Julius Sanders. Dismiss 'IP Suit (Continued from page 1) their action, according to the company. At the same time, it was added, Abbott and Costello expressed regret over any injury that might have been caused Universal by charges made during the litigation. The suit was filed in Nov., 1951. It asked damages and abrogation of their contract with the company, questioning the accounting methods used and the company's right to reissue A. and C. films through Re.alart.