Paramount Punch (1930)

PARAMOUNT PUNCH. The New 1932 PARAMOUNT PUNCH. Vol. 6 — No. 19. Dec. 21st. 1932. Reg Kellv — Editor. Published every Wednesday by PaiarnoiiTit Film Service Ltd., Head ()flice, Sydney. Australia, in the interests of the Pai'ainount organisation in Australia, New Zealand and the Far East. J>edicated to the fightins: Sales Campaigfi for the rest of 19152. CONTENTS ARE STRICTLY CONFIDENTIAL. W. J. CLARK. Managing Director, T HA T prior to the release of a big picture you can, without even a glance at the box plan, tell by the "feel’ of public conversation whether the picture will click . . . That at the present time all Sydney is talking about Maurice Chevalier' s "Love Me T o-Night”, and this is days before the opening. . That there is a queue rivalling the Lottery line-up outside the advance bookings bureau at the Prince Edward Theatre, and from all appearances this picture should run ’til Easter. . . That Mel Lawton, with the assistance of some of the boys in Head office has put over a marvellous campaign for the picture . . . That the Editor, suh-Editors, and the editorial staff of “Punch” wish each and every one of its readers (especially advertisers and paid-up subscribers) a very Merry Xmas and a Happy New Year, and remind you that Paramount is STILL the greatest name in show business. I HAIL— 1 “THE SIGN OF THE CROSS” THE NEW SEASON’S SPECIALS.— No. 3. ^ a SenScitierinl ^ ALL STAR CAST A R A MOUNT steps out front again with a brand new moving picture idea. The gripping tale of a millionaire who decided to give away his millions to a score of penniless and oddly assorted people. What these suddenly enriched persons do with this wealth, what strange events befall, provide the stirring human drama, romance and comedy of this picture. “If I Had a Million” presents the motion picture cast of the year. Cary Cooper, Ceorge Raft, Wynne Cibson, Charles Laughton, Jack Oakie, By RAMBLER Frances Dee, Charlie Rugg I e s, Alison Skipworth, W. C. Fields, Mary Boland, Roscoe Karns, May Robson, Cene Raymond, Lucien Littlefield and Richard Bennett. And to add one more wallop to the utterly unique idea and treatment, “If I Had a Million” is not directed by one director, but by seven. Read the list; Ernest Lubitsch, Norman Taurog, Stephen Roberts, Norman McLeod, James Cruze, William A. Seiter, and H. Bruce Humberstone. Now, does that read like a REAL picture? . . . Are you telling me? GREAT CAMPAIGN FOR “LOVE ME TO-NIGHT”. Tie-ups Galore. Maurice chevalier’s “Love Me To-night” opens to-morrow at the Prince Edward Theatre on the wave of one of the biggest and most comprehensive exploitation campaigns ever given a Paramount picture in Sydney. The campaign includes merchandising tie-ups of various descriptions, as well as a mammoth link-UD with the music trade. And all this is backed by publicity and advertising of the highest order. Tie-ups of importance include those with Bebarfald’s, a scores of men’s shops, McDowell’s Ltd., Verey’s Ltd., and Merrett’s “Chevalier Straws”. “SIGN OF THE CROSS” PERSONALITIES. No. 5—TlCELLINUS. Ian Keith, who plays the role of T i g e I I i n u s, the ruthless capt a i n of Nero’s guard in “The Sign of the Cross”, Cecil B. de Mille’s spectacle of Pagan Rome, although well-known as a screen player, has won most of his success on the stage. It was his outstanding performance in “Elizabeth the Queen” that won him this role in “The Sign of the Cross”. THERE’S PLENTY OF PUNCH IN THE BLUE RIBBON BUNCH