Motion Picture Herald (Jul-Aug 1936)

Record Details:

Title:
Motion Picture Herald
Date:
Jul-Aug 1936
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Jul-Aug 1936)
Leaf #:
000251
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 29, 2022
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July 18, 1936 CLASSIC by gus McCarthy /';/ Hollywood being unavailable, Bruce Cabot, who has demonstrated his ability to handle heavy roles in many past pictures, was selected to be the treacherous, murderous Magua. Robert Barrat is Chincachook and Phillip Reed the heroic Uncas, martyred by Magua's treachery. There are no smash names in that cast. It is, rather, a group hand picked for fitness in the particular role performed. While all have a certain prestige, it is interesting, in watching them working, to note that all seem to have in mind the fortune that befell Robert Donat, raised to stardom in "The Count of Monte Cristo." Aimed at being a notable addition to the current crop of outstanding attractions, the competency of the producers, writers, director, George B. Seitz, players and technical crew in accounting for desirable entertaining and commercial screen merchandise is a matter of record. The prestige of James Fenimore Cooper, anniversary of whose death will fall about the time of the picture's release, is also well established. It is upon these that the success or failure of the United Artists production must rest. MOTION PICTURE HERALD 17