Motion Picture Herald (Oct-Dec 1951)

Record Details:

Title:
Motion Picture Herald
Date:
Oct-Dec 1951
Publisher:
New York, Quigley Publishing Co.
Volume:
Motion Picture Herald (Oct-Dec 1951)
Leaf #:
000280
Language:
English
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
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:
March 28, 2024
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Foreman ’s Lippert Deal Sets Tongues Wagging by WILLIAM R. WEAVER Hollywood Editor Tile Hollywood week was relatively dull. Some 350 individuals who had participated one way or another in the planning and execution of the Movietime U. S. A. tours celebrated the success of that undertaking at a banquet in the Beverly Hills Hotel, an appropriate exercise presided over by COMPO campaign chairman Robert J. O’Donnell. Pictures Previewed in Projection Rooms The studios previewed about nine pictures for the press, most of them in projection rooms during the daytime, a recent trend jibing not at all with the universally shared conviction that the proper setting for a press preview is a theatre in the evening with a lay audience present. The business agents of the lATSE studio locals discovered a discrepancy between their interpretation of the escalator clause in the new wage schedules and their employers’ interpretation of the same, which created quite a stir locally but presumably will not affect greatly the estimated $11,000,000 increase in annual production costs previously noted. The newsiest news of the week, in point of conversational displacement at least, centered around Carl Foreman, whose interest in Stanley Kramer Productions, Inc., and the Stanley Kramer companies was acquired by his partners in those corporations on Monday night and who, on the following day, formed Carl Foreman Productions and made a contract with Robert L. Lippert for the financing and release of three pictures to be produced, written and directed by him. This swift succession of events kept the production community well supplied with talking material for days on end. Kramer -Foreman Break W^as Not Unexpected The dissolution of the corporate bonds which long and profitably had joined writer Foreman and producer Kramer followed in due course a statement issued by the latter, shortly after the former had testified before the House Committee on Un-American Affairs subcommittee here, in which the producer described himself as in total disagreement with the writer, and was not unanticipated. The formation of Carl Foreman Productions and the announcement of the Lippert commitment caught the community completely unprepared. The accompanying revelation that Gary Cooper was a shareholder in the new Foreman company combined with the Lippert announcement that he has no doubt of Mr. Foreman’s “loyal Americanism’’ to round out a fat tid-bit for oral speculation. Seven Pictures Started Seven pictures were started during the week. Casey Robinson started “Diplomatic Courier’’ for 20th-Fox, with Henry Hathaway directing Tyrone Power, Patricia Neal, Ste'phen McNally and others. David Weisbart launched “Maria Maru” for Warners, with Frrol Flynn, Ruth Roman and Paul Picerni heading the cast, directed by Gordon Douglas. “Ma and Pa Kettle Go to Paris,” co-starring Marjorie Main and Percy Kilbride, went before Universal-International cameras, with Charles Lamont directing and Leonard Goldstein producing. Fdward Bernds began directing “The Harem Girl,” Columbia, with Wallace MacDonald as producer and with Joan Davis, Peggy Castle, Arthur Blake and Paul Martin in the cast. Film Group, Inc., independent, began filming “Monsoon” in Bombay, India, with Forrest Judd as producer, Rodney Amateau directing, and with Ursula Theiss, Diana Douglas, George Nader and others in the cast. RKO went to work on “Road Agent,” a Tim Holt Western, produced by Herman Schlom and directed by Lesley Selander. Republic started “Cavalier Gunslinger,” a Rocky Lane number, with Harry Kolker producing and directing. THIS WEEK IN PRODUCTION: STARTED (7) COLUMBIA The Harem Girl INDEPENDENT Monsoon (Film Group, Inc., Prod. ; Bombay — color) REPUBLIC Leadville Gunslinger RKO RADIO Road Agent 20TH CENTURY-FOX Diplomatic Courier UNIVERSAL-INT’L Ma and Pa Kettle Go to Paris WARNER BROS. Mara Maru FINISHED (9) COLUMBIA Fourposter (Kramer Prod.) UNIVERSAL-INT'L The Sniper (Kramer Prod.) The Invitation MGM Hold That Line PARAMOUNT Sailor Beware (Hal Wallis Prod.) Shane (Technicolor) REPUBLIC The Fabulous Senorita (formerly “An Old Spanish Custom)” UNITED ARTISTS High Noon (Kramer Prod.) Steel Town (Technicolor) SHOOTING (33) COLUMBIA Okinawa The Marrying Kind The Mother My Six Convicts (Kramer Prod.) INDEPENDENT The Tightrope (Aspen Prod.-UA ; Reno ) Without Warning (Allart Prod.) MGM Lovely to Look at (Technicolor) The Hour of Thirteen (London) The Merry Widow (Technicolor) Skirts Ahoy (Technicolor) Young Man in a Hurry Scaramouche (Technicolor) PARAMOUNT This Is Dynamite Los Alamos (Santa Fe, New Mexico) Somebody Loves Me (Perlberg-Seaton Prod. ; Technicolor) REPUBLIC Bal Tabarin (Paris) RKO RADIO Tarzan, the Hunted (Sol Lesser Prod.) Clash by Night (Wald-Krasna Prod.) The Korean Story Big Sky (Wnichester Pic.) Androcles and the Lion 20TH CENTURY -FOX Way of a Gaucho (Technicolor) The Girl Next Door (Technicolor) The I Don’t Care Girl (Technicolor) Lady in the Iron Mask (W-F Prod. ; Eastman Kodak color) UNIVERSAL-INT'L. Hear No Evil Oh Money, Money (Tehcnicolor) The World in His Arms (Technicolor) UNIVERSAL-INT’L San Francisco Story (Fidelity Prod.) She’s Working Her Way Through College This Woman Is Dangerous Retreat, Hell ! (United States Pictures) Crimson Pirate (Technicolor) 32 MOTION PICTURE HERALD, NOVEMBER 3. 1951