Motion Picture Herald (Jul-Aug 1936)

Page scan 000348 from Motion Picture Herald

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 #:
000348
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:
May 30, 2024
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16 MOTION PICTURE HERALD July 2 5, 19 3 6 FILM "CHARGE OF LIGHT <A LFRED TENNYSON'S noble verses /^khave kept ever green in mortal / ^ memory the heroic charge of / ^ the Light Brigade "into the _JL valley of death, into the mouth of hell," and Warners are trying to make their "Charge of the Light Brigade" a screen record of commensurate quality. Big is the word commonly applied to it in the production colony, and a single set, the Chukoti garrison, is the biggest built in Hollywood since Brezzy Eason, called upon by Director Michael Curtis to erect it, fabricated the reproduction of the Coliseum for "Ben Hur." The story is of two Englishmen, brothers and soldiers in love with the same girl, and of a border chieftain who, first betraying the British, fled to the Crimea, joined the Russian forces and caused to be issued the order which sent "the noble six hundred" charging into death and glory. Colorful, rich in action, backgrounded and animated at once by romance and martial conflict, the entertainment potentialities of the production loom promisefully in prospect. The time of the picture is 1850. The story traverses India from the northern border to Calcutta, into Arabia and the Crimea. Battles between Lancers and border tribesmen are frequent and dramatic. The Cawnpore massacre (shown at lower right) is among the incidents leading up to the final fatal charge (glimpsed above). Because there are so many battles, sieges and other actionful sequences, Director Curtis is keying in contrasting simplicity the love scenes (left) which carry on the romantic phase of the drama. Choice of Olivia de Havilland and Errol Flynn for the leading roles is, of course, in direct recognition of their work in "Captain Blood." To Patrick Knowles, English actor prominent in "Give Me Your Heart," was assigned the role of the other brother. C. Henry Gordon is the villainous Surat Khan. Others in the cast are Donald Crisp, J. Carroll Naish, Nigel Bruce, Spring Byington, E. E. Clive, Lumsden Hare, David Niven, Robert Barrat, Colin Kenny, and Henry Stephenson, players of