Motion Picture Herald (Apr-Jun 1931)

Page scan 0001501 from Motion Picture Herald

Record Details:

Title:
Motion Picture Herald
Date:
Apr-Jun 1931
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Apr-Jun 1931)
Leaf #:
0001501
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Founded in 1915 by a Chicago printing company as a regional trade paper for Midwest exhibitors. In 1916, editor Martin Quigley bought out the owners, and over the next 15 years, he grew EXHIBITORS HERALD into one of the most important national, weekly trade papers in the film business. Quigley acquired MOTOGRAPHY in 1917 and MOVING PICTURE WORLD in 1927. In 1930, he acquired MOTION PICTURE NEWS and the new 'consolidated' publication became MOTION PICTURE HERALD. From the pulpit of his editorial page, Quigley preached the need to improve the motion picture industry and improve the quality of the films. He skillfully served as a mediator in disputes -- between distributors and exhibitors, between the film industry and the Catholic Church (Quigley was one of the architects of the Production Code). Quigley claimed that EXHIBITORS HERALD represented the 'independent exhibitor' and sections like 'What the Picture Did for Me?' certainly provided a forum for theater owners. But plenty of exhibitors viewed Quigley as a servant to the studios and large theater chains. In response, publications such as SHOWMEN'S TRADE REVIEW, INDEPENDENT EXHIBITORS FILM BULLETIN, HARRISON'S REPORTS, and BOX OFFICE were either formed or grew significantly in the years following Quigley's brief moment of consolidation in 1930. -- Eric Hoyt, 2014
Date Added:
July 18, 2024
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June 13, 1931 MOTION PICTURE HERALD 35 ' The Headache (Paramount) Comedy Billy House tills the leading spot in this comedy. The corpulant actor gets into difficulties with his former wife, at the same time having i a second "headache." The two wives meet in the husband's apartment, and have it out. — Running time, 20 minutes. The Way of All Fish (Radio) Comedy j Ned Sparks plays an amateur fisherman with ■! Addie McPhail opposite. After someone tells him anyone using worms to catch trout is worse than a worm himself, he proceeds to hit the next fish that appears, and is jailed for it. He defends himself in the courtroom scene which follows. — Runnina: time, 18 minutes. I The Meal Ticket (Vitaphone) Comedy I Jackie Pearl speaking, or more correctly, sputtering in a most decided German dialect, seems to be about all there is to this short j comedy. — Running time, 21 minutes. I The Tune Detective (Paramount) Novelty An Italian composer is suing another for plagiarizing a melody, in this short set in a courtroom. As expert witness, Dr. Sigmund Spaeth, noted New York composer, who is billed as star, seats himself at the piano and proves that the melody in question has been I used for many years as characteristic of most diversified types of melody. — Running time, 8 minutes. I Clean Up to the Curb (Radio) I Comedy Roscoe Ates, comedian, carries the lead in this number, playing the part of the janitor who climbs to the roof to commit suicide, and instead becomes sadly mixed in a complication between a bootlegger and his feminine r friend, in a penthouse apartment. A truck load of chickens on the street below, becomes j the resting place for two of the bootlegger's I henchmen, and finally for Roscoe himself. — Running time, 20 minutes. More laughs in 6 minutes of MICKEY MOUSE than in scores of feature length ^^^^ comedies /^PS^ WALT DISNEY'S "Silly Symphonies" i^^^S too, will tone up any ( V^^TA. N. serious program "Fronn the Depot to the Barn" Following closely on the heels of a tremendous exploitation ballyhoo and outdoor ad campaign on "Trader Horn," which, it is understood, saved that picture from a threatening "red" play on key city road show engagements, MGM has launched a more elaborate billing drive on the new Norma Shearer picture, "A Free Soul." 140-Sheet Used by MGM Immediately after the talker opened its initial engagement at the Astor theatre in New York City, MGM sent out Phil DiAngelis to paper the town and suburban localities with 140-sheets, the largest single outdoor paper display used anywhere in this country in ten years. Working with William R. Ferguson, MGM exploitation chief on Howard Deitz's staff, DiAngelis erected forty 140-sheet stands, with letters of the title running a full story in depth. This was followed by the erection of 100 28-sheets in New York and suburban districts, in addition to the usual smaller sized paper. I'd Clip the Highest Mountain (Paramount) Novelty This Paramount Screen Song shows the characters jumping around the mountain peaks in tune with the melodies of the various numbers recorded. — Running time, 6 minutes. Just a Gigolo (Vitaphone) Novelty A song novelty short number in which an organist and singer render the tune in accord, while animated sketched figures form a moving background. — Running time, 6 minutes. Permit Sunday Showings The Chatham, N. Y., board of trustees has passed an ordinance amendment permitting Sunday showings after 2 p. m. €N THE DCTTCD LINE... Columbia Jack Holt, Richard Cromwell in "Fifty Fathoms Deep" ; R. William Neill, direction. Fox Earl Pingree in "Wyoming Wonder." . . . Arnold Lucy in "Merely Mary Ann." . . . Joel McCrea, Jed Prouty in "The Plutocrat." . . . Stanley Fields, Donald Dillaway, Jack Kennedy, Alice Ward in "Skyline" ; Sam Taylor, direction. . . . George O'Brien, Marguerite Churchill. Yvonne Pelletier in "Riders of the Purple Sage" ; Benjamin Stoloff, direction. . . . Lucien Littlefield, Sally Filers, Minna Gombell, William Pawley in "Bad Girl." . . . Elissa Landi, Paul Cavanagh in "The Yellow Ticket" ; Rowland Brown, direction. . . . M-G-M Madge Evans, Lew Cody in "Horseflesh" ; Charles Brabine, direction. . . . Edgar Rice Burroughs, to do original based on "Tarzan" story. . . . Alfred Lunt, Lynn Fontanne in "The Guardsman" ; Sidney Franklin, direction. . . . William Haines in "The New Adventures of Get Rich Quick Wallingford" ; Sam Wood, direction. . . . W. S. Van Dyke, direction "Guilty Hands." . . . Marie Dressier in "Emma" ; Charles F. Reisner, direction. . . . Maria Alba, Yola D'Avril in "Just a Gigolo." . . . Paramount Walter McGrail, Lenita Lane in "Murder by the Clock." . . . Arthur Sheekman, additional dialogue; S. J. Perelman, Will B. Johnstone, adaptation, "Monkey Business." . . . Ernst Lubitsch, direction, "The Man I Killed." . . . Tallulah Bankhead, Frederic March in "My Sin" ; George Abbott, direction. . . . Claudette Colbert in "Uncertain W omen" : Monta Bell, direction ; Edgar Wallace, adaptation. . . . Nancy Carroll, Terry Carroll in "Personal Maid." . . . Adrienne Ames, new contract. . . . Carmen Barnes, Charles Rogers in "The Road to Reno"; Richard Wallace, direction; Virginia Kellogg, original story ; Josephine Lovett, adaptation ; Brian Marlow, dialogue. . . . Marjorie Rambeau, Peggy Shannon, Charles Starrett in "Silence." . . . Radio Genevieve Tobin, Ralf Harolde, Arthur Edmund Carew, Colin Campbell in "Strange Woman." . . , Hope Williams, Dolores De Rio, Laurence Olivier, Jill Esmond, Ricardo Cortez in "The Sphinx Has Spoken." . . . Charles O'Malley, Josephine Wittell in "Full of Notions." . . . Lai Chand Mehra, technical supervisor, "The Sphinx Has Spoken." . . . Helen Chandler, Arnold Korfif, Florence Roberts in "Fanny Foley Herself." . . . Ivan LebedefT, Herbert Brenon, Lowell Sherman, new long-term contracts. . . . Robert Emmett O'Connor in "The Middle Dollar Swindle." . . . United Artists Osgood Perkins in "Scarface." . . . Harry Woods in "Palmy Days." . . . Frank Lloyd, directorial contract (long term), handling "The Age for Love." . . . Mervyn LeRoy, direction, "Tonight or Never," with Gloria Swanson. . . . Joan Blondell, Ina Claire, Carole Lombard, David Manners, Lowell Sherman in "The Greeks Have a Word For It." . . . Universal Enid Bennett, Doris Lloyd, Kent Douglas, Mae Clarke, Ethel Griffies, Frederic Kerr, Rita Carlisle in "Waterloo Bridge." . . . Lewis Stone, John Boles, Sidney Fox, George Meeker in "Strictly Dishonorable." . . . Warner-First National Murray Kinnell in "Blue Moon Murder." . . . Edward G. Robinson in "The World Changes." Winnie Lightner in "Big-Hearted Bertha." . . .