Motion Picture Herald (Jan-Feb 1940)

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MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-Chief and Publisher Vol. 138, No. 2 BSIMI January 13. 1940 PROGRESS REPORT FOR all of its repute of galloping development some of the phases of evolution in the structure of the industry of the motion picture are coming slowly. This has been a consequence of the concentrations of capital and creative attention to the basic product, the film — and a consequence, too, of factors of sheer inertia, so much to attend to that all else could wait. Typical has been the long time a-coming of the unified operation represented by Advertising Accessories, Inc., the newly formed affiliate of National Screen Service. Just now the project covers the promotional merchandise of three concerns. Paramount, RKO and Universal. The prospects are that in time the newly constituted machinery of service will be at least as extensive in its coverage of producers as the National Screen trailer project. The movement and reaching for the efficiencies to be had, now crystalized into operation by Mr. Herman Robblns and the indefatigable Mr. Charles Casanave, has been in the minds of distribution executives many and many a year. To students of distribution the advantages have ever been obvious, even if apparently unobtainable. Twenty-five years ago unified physical distribution was being talked. Somewhat later Mr. Walter Irwin became the author of a unified distribution plan which was for the day of its presentation famously well accepted, as a theory. It or its equivalent may some day, when more Insistent problems of the distribution machine are solved, or met, yet become a working fact. None will dispute that the motion picture industry has in its physical distribution plant a vast duplication of equipment with a capacity and cost out of proportion to the service to be rendered. While these considerations of the machinery are primarily addressed at sheer business mechanics, it is to be observed that always reduction to practise of new devices finds influences on products. It may be expected to prove so with the advertising accessory services. With wastes and conflicts and complexities eliminated more effective attentions to the wares themselves are likely to result. Just mention that notion to Mr. Robblns and Mr. Casanave and you will probably hear a hatful. That the whole project, both as a corporate device and as an instrument of production, should have a certain relation to the closely kindred trailer art-and-buslness is Inevitable. Potentialities for better showmanship and a larger utilization of better devices of box office selling are evident and more than promised. AAA CALIFORNIA'S "MIAMI" MAGNIFICENT potentialities for transcontinental woofing repose In the production of "Miami" for Paramount, under the direction of Mr. Andrew L Stone. Two weeks ago came a piece from Mr. Dave Epstein casually observing that Mr. Stone had been looking up locations at San Diego and Coronado. Now we've had to tear up a piece about that because, says Mr. Epstein, "there's been found a difference between Florida and California orange groves, and also there might be Chamber of Commerce comment". So it comes there's a Paramount expedition to Florida to "make background shots" in the veritable locations of the story. It looked for a time that Mr. Max Fleischer, the Miami producer, might have been put Into what Is known as a local situation among disturbed neighbors. AAA CODE and DRAMA THE forthcoming motion picture version of the New York stage play of two seasons ago entitled "Of Mice and Men" is another emphatic exemplification of the truth that the industry's regulatory processes affecting production do not Infrequently contribute dramatic betterment to the subjects with which they deal. The processes were of course not intended primarily to do any such thing. Even amongst well-wishers It was hardly hoped that the Code would do other than effect reasonable standards of decency without material sacrifice to dramatic aims. But it has done this and more. The stage play, "Of Mice and Men", was based on the John Steinbeck story. It was a pronounced success but necessarily limited in extent because of the subject matter. It was argued, and perhaps with considerable effect, that much of the language employed restricted Its acceptance. There were certain colorations, as well. In the manner of telling the story which left Implications of a decidedly unpleasant taste. The motion picture has dramatic merit superior to that of the stage play and dictionary words or colloquial uses of them alone are employed. It is stark, severe and penetrating. It does all this and more without recourse to allusions which of their very nature have no right of entry into a public auditorium. This job of Hal Roach as the producer and Lewis Milestone as the director is a highly creditable one. If those who sneer at the screen's immaturity were as thoughtful as their ponderous posings would have one believe, this production should silence them for a long moment at least. "Of Mice and Men" does a service In showing what the screen can do and do well. Now that this has been done It is to be hoped that Mr. Roach and his colleagues in Hollywood will return promptly to the production of subject matter less agonizing in its import — subject matter less calculated to add to the misery than the happiness of an audience. Yes, there are those clinically inclined persons who want the smell of a sociological ether in their pictures, plays and books. But the millions get all the depression they want without buying tickets for more. AAA AN advertisement In "The Cinema" of London — where nightlife is a bit afflicted by "blackouts" — announces that the many friends of F. W. Musgrave can find him now as the proprietor of "The Hare & Hounds" which Is to be found located "next door to the Bull & Bush, North End Way, Hampstead." Sounds most exciting, especially in the dark.