Motion Picture Herald (Nov-Dec 1946)

MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-Chief and Publisher Terry Ramsaye, Editor Vol. 165, No. 6 m November 9, 1946 INVITED TO WASHINGTON THE industry in all of its departments may view with special interest the invitation to Washington to talk about screen time for the Government. It comes from Mr. John R. Steelman, director of the Office of War Mobilization and Reconversion, "to discuss a public service program of motion pictures based on industry and government cooperation". Under the duresses of war the Government asked and got, against the nation's emergency, a deal of screen time, and a vast deal of extra-mural attention and promotional service from the motion picture and its people. There are now and will continue, as we are all aware, problems of the peace but, unlike the direct physical issues and requirements of the war, these problems are all under decidedly political discussion and embody many political issues, policies and doctrines. Decisions and movements bearing on the problems of the peace are subjects of issue. Projected solutions, or even the propriety of national governmental activities and interventions are also inescapably matters of issue in many instances. Just to make one clear and particularized point, the very methods and structure of the motion picture institution itself are still, after ten years of litigation, at issue between the Government, as represented by the Department of Justice and the Federal courts, and the several branches of the industry. It will take a considerable circumspection on the part of all parties to that Washington conference to keep the project for screen delivery of Government messages within the functioning of a free art serving a free people — also to make sure that the interest of the customer who buys a theatre seat is served to his liking, regardless of his ideological alignments — leaving him in the same authority of choice which he enjoys with printed page and theatre stage. . , The meeting has been called for November 19, at which time, in sequel to the elections, various reorientations in the Washington points of view may be had. WORLD PREMIERE THAT spectacular premiere of "A Matter of Life and Death" — to be titled "Stairway to Heaven" over here — at Metro's Empire in London, a command performance, complete with royalty, is an occasion of several significances on the world scene of cinema — and the developing relations of American and British production serving a world audience. As our news pages have recorded, the occasion was attended by an array of American motion picture personages who went over with that as their principal purpose. This was, for history, the first command performance of a motion picture — if one excepts the famed Kinemacolor Durbar pictures of ever so long ago. It is said that previously there had been a reluctance to confer such distinction on a picture lest it involve a commercial advantage. So this occasion is to be considered a royal and governmental British gesture addressed at recognition and encouragement of their whole screen industry. To be sure, the bill at the Empire partook of that with its reminiscent "Cavalcade of the Movies" and array of film personalities on stage. The international nature of the audience, and the presentation of the leaders of the industry in attendance, to the King and Queen, was also an attest to the broad design and program behind the event. London has seen great premieres for pictures before, but none like this, with crowds standing for ten hours in Leicester Square, and the King arriving behind a police wedge, "on two wheels" and almost a casualty, cheerful the while. The picture, incidentally, is an enterprise under the auspices of Mr. J. Arthur Rank, just now concerned especially with expansive international relations and plans. RAGE in HEAVEN THE reports that roll in on the return engagements of "Rage in Heaven" after five years, have a happy bearing on our frequent contention that the motion picture has arrived at a maturity which confers abiding values on the better product. Figures from Metro-Goldwyn-Mayer indicate that in a series of presentations in widely diverse locations, the Poli Theatres in Worcester, the Palace in Washington, in Boston, Rochester, Dayton and Altoona, the picture is grossing somewhere near three times the figures for original release in 1941. Observers tend to consider that the manifestation is considerably controlled by the rising fame of Miss Ingrid Bergman. No doubt that is a help. It cannot be the complete answer. There is plenty of Bergman product around. The money laid down at the box office indicates that the customers like the show and talk about it enough to send the neighbors. THE CHALLENGE SOMETIME the world's greatest play will be produced. Sometime the greatest novel will be written. Sometime the greatest motion picture will be made. Possibly all these triumphs have been achieved. Possibly they are yet to come. Perhaps we shall never be knowing. Anyway, with mighty milestones in his career, Mr. David Oliver Selznick is trying again. If work will do it, if assembled skills can help, if money counts, if he can do it, there will be a new milestone with "Duel in the Sun". For what they may be worth, dollar figures are percolating through the swelling flow of the tidings which are well calculated publicity attentions. It is said that the negative cost is something above five millions of dollars — the most dollars ever spent on a negative; and it is being said that another two million dollars is to be spent across 1946 and 1947 telling the world about it — the most dollars ever spent selling a picture. It is the while to be remembered that the dollars of now and "Duel in the Sun" are not so large, dollar for dollar, as those spent on "Gone With the Wind", but there seem to be many more of them. The project looms a challenge. It will not want for attention. It must inevitably deliver some answers. — Terry Ramsaye