Motion Picture Herald (Dec 1933–Mar 1934)

22 MOTIONPICTUREHERALD March 17, 1934 SIGNED . . . ARTHUR MAYER FINDS SELWYN IS ^SPOOFED' Rialto Executive Says Exhibitor Has About as Much Control Over Films as Any Retailer Over Manufactured Product The average exhibitor "has about as much control over the type and quality of pictures produced as any other retailer has on the manufacture of the commodity he handles," and the producer's infallable guide to public reaction lies rather in the weekly intake at the box offices of the country, says Arthur L. Mayer, formerly of the theatre advertising and publicity department of Paramount Publix and now managing director of the New York Rialto theatre, which he has leased. Answering Edgar Selwyn's charge that "the strange and subtle business of emasculating and rendering ordinary always happens when a picture has been completed — the villain is the exhibitor," Mr. Mayer wrote in the New York Times of last Sunday that "it became obvious that some quasi-friends in Hollywood had been spoofing this newcomer to their ranks and that his commendable zeal for reform of the movies was only surpassed by his complete ignorance of the subject." A Pretty Lively Corpse "If the movie reviews in my favorite newspaper interfere with my digestion, I taJ<e out my wrath on Mordaunt Hall, not on the newsstand dealer," Mr. Mayer commented, in his contribution to the Times symposium on "the best seller of all mysteries — the mystery of who murdered the movies." And as for that, he added that "when last seen, it must be admitted that the reputed corpse was moving rapidly around the corner toward prosperity, with every indication of his demise having been slightly exaggerated." "I have been connected with the distribution and exhibition of motion pictures for some twenty years," he said. "In that period of time I have heard exhibitors denounced by film salesmen as niggardly chiselers ; by church organizations as purveyors of filth and lewdness ; by advertising experts as the ultimate offenders in the misuse of hyperboles and superlatives. I have heard innumerable unpleasant comments about their business methods and their morals ; about their military ushers, their rococo theatres and their thirst for publicity, but never before have I heard any one say, in print or out, that after pictures had been completed the exhibitor emasculated them." Eyes and Ears of the Business But while the box office is what tells the story, the exhibitor is "necessarily the eyes and ears of the business," the theatre executive declared. "He comes into close daily contact with many Ultimate consumers in a way that no motion picture producer or director exiled in Hollywood can. He stands in his lobby to hear, or hides in his office to avoid, the comments of his patrons. He checks up his daily receipts and is intently aware what sort of pictures his customers patronize and which they honor with their absence. This information he can send to Hollywood, if he so desires, through the indirect and unreliable medium of a film salesman who calls upon him a few times a year. He also sends it to Hollywood unwillingly, but necessarily through the accurate and sensitive barometer of a box-office report. "For most pictures of consequence are played on the basis of a percentage of the gross re ceipts. No Hollywood studio need wait for Mr. Exhibitor to unburden himself relative to which pictures should be emasculated and which should take thyroid for greater virility. The weekly intake on every production in current release gives the distribution and studio executives an infallible guide to the public reaction. "Primed with this information, the studio proceeds with its production plans, the distribution department with its sales campaign." Says Veterans Favor Block Sales Mr. Mayer mentioned the block booking system "against which President Lowell has been fulminating but which to most picture veterans would appear the only feasible method of selling motion pictures," and the production book which "has as much bearing upon actual performance on the part of the motion picture producer as the average political platform has on the subsequent policies of a successful candidate." Then this parting shot in the general direction of Mr. Selwyn : "Two weeks ago Mr. Selwyn's ingenious little picture, 'The Mystery of Mr. X,' played at the Capitol. I search in vain for any announcement on the part of Metro that this picture was to be included in their contract. What exhibitor wired to Mr. Selwyn that he should make 'The Mystery of Mr. X,' and after it was made was responsible for any weakening or emasculation that may have occurred?" Stick to Stage Knitting: Carroll Earl Carroll, creator of the "Vanities" and now associated with Paramount in filming "Murder at the Vanities," this week aimed a friendly warning at such theatrical producers as Sam Harris, Al Woods and Arthur Hopkins, who are thinking of making motion pictures, suggesting that they should stick to their theatrical knitting. "In the first place," Mr. Carroll said, "there is too much detail to attend to. It would kill their enthusiasm. This film game isn't a personal enterprise like a stage show, in which you do most of the work yourself. "Too many technical factors enter into screen production. Sound, photography, direction, cutting and distribution are only a few of the items that would break the average New York producer's back. It's a new business — and most Broadway producers won't learn anything new. The past history of the legitimate theatre proves that." Mr. Carroll didn't include George M. Cohan, explaining that "Cohan is a musical comedy man, and producers of musicals are always susceptible to new trends and techniques." Columbia Party Draws More Than 1,000 Guests The Columbia Pictures home office staff, with their friends, turned out in force last Saturday evening when the annual party was held at the Waldorf Astoria. More than a thousand were present. Numerous acts were on the program, with music furnished by Ozzie Nelson and his orchestra. Harry Hershfield, Julius Tannen and Milton Berle were toastmasters. All Star Productions Percy Helton, Frederic Worlock and Sigmund Spaeth added to "Frankie and Johnny." V Colunnbia Arthur Rankin awarded player's contract. Tullio Carminati in Grace Moore's forthcoming musical. . . . Ann Sothern and Patsy (from Hal Roach) selected for "The Party's Over." . . . Shirley Grey opposite Ralph Bellamy in "Murder in the Studio." . . . V Educational Betty Conipson, Dorothy Sebastian and Don Alvarado sign for "Breakers Ahead." . . . Ernest Truex given contract, to appear in tworeelers. . . . V Fox Janet Gaynor and Charles Farrell reunited in "The World Is Ours," with Ginger Rogers and James Dunn. . . . Barbara Weeks and G. P. Huntley join "Now I'll Tell." . . . V Invincible James T. Mack, Clarence Eldert and Lloyd Ingraham go into "Together Again." . . . V Liberty Leila Hyams and Phillips Holmes engaged for "The Quitter," with Jack La Rue and Eddie Nugent. V MGM Joan Crawford to star in "Sacred and Profane Love." . . . James M. Cain to scenarize "The Duchess of Delmonico's." V Monogram Ben Verschleiser to supervise "Money Means Nothing" and Paul Malvern to produce "Border Patrol." . . . Mary Brian cast for "Numbers of Monte Carlo." . . . V Parannount Jack Haley will star in "Here Comes the Groom," Ralph Murphy to direct. . . . John Miljan goes into "It Ain't No Sin." . . . John Halliday, Gertrude Michael and Richard Carle join "The Witching Hour." . . . V RKO Radio Billie Burke and Edna May Oliver assigned to "And Let Who Will Be Clever." . . . Wanda Tuchoch given writer-director contract. . . . Lionel Barrymore to star in "Wednesday's Child," with Frank Thomas, Jr. . . . V Showmen's Jeannette Loff, Johnny Mack Brown and Roberta Gale in "St. Louis Woman," Albert Ray directing. . . . V United Artists Charlotte Henry (from Paramount) and Frank Albertson sign for "Head of the Family" (20th Century). . . V Universal Alice White opposite Paul Lukas in "Affairs of a Gentleman." . . . Karen DeWolf to do screen play of "The Humbug." . . ■. Berton Churchill to star in "Alias the Deacon." . . . V Warner-First National Osgood Perkins, Victor Jory and Dolores Del Rio assigned to "Madame Du Barry." . . . Richard Baxthelmess and Helen Lowell in "The Old Doll's House." . . . Dorothy Burgess and Dorothy Lee join "Friends of Mr. Sweeney."