Motion Picture Herald (Sep-Oct 1935)

Page scan 0001030 from Motion Picture Herald

Record Details:

Title:
Motion Picture Herald
Date:
Sep-Oct 1935
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Sep-Oct 1935)
Leaf #:
0001030
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:
August 15, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

II Such lovely langu Hollywood Reporter says: "Night at the Opera" a hit! Marxes hilariously funny! Production and music rate extra high. The Marxian recipe for a cacklefest, with song, rings the bell again with topnotch punch features. There is a grand opera backstage story of exceptional excellence, constantly punctuated by ribaldries of the three comics. The average of good laughs is so high and the musical features so delightful that there is bang-up entertainment for all tastes. M-G-M has given the picture a spectacularly excellent production and spread itself on a swell fiesta on the lower deck of a liner and on a backstage chase while the opera is under wav that is as fresh and hilarious as the screen has seen in many a day. The many-sided Harpo is the hero of this episode, doing a flying Tarzan among the rigging in the flies with uproarious results. The opus is high-marked also by Allan Jones, whose singing, personality and good looks make him real box-office. Besides his operatic numbers from ''II Trovatore" he sings two dandy ballads, "Cosi-Cosa," by Kaper, Jurmann and Ned Washington, delivered at the fiesta with the Marx trio accompanying, and "Alone," by Nacio Herb Brown and Arthur Freed, with his singing team-mate, Kitty Carlisle. In the supporting cast there isn't a weak spot. Miss Carlisle is all that one could ask. Walter King himself is a real tenor. The Marx Brothers, will certainly build themselves into great favor as a result of this fine Thalberg offering.