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By RUTH WAT E R B U R Y
SAX FRANCISCO," put out in the heat of mid-July, is proving to be the greatest summer box office picture ever made. "Anthony Adverse" has started its career by going particularly big in Los Angeles and San Francisco. •'To Mary— With Love" is twice the hit that 20th Century -Fox hoped it would be. "Suzy," which even Metro admits isn't much of a production, is bringing in plenty of gold. "Green Pastures" is doing very nicely; and little Miss Temple packs them in even when playing at noncooled theaters. "Mary of Scotland." which the critics weren't so keen for, did $110,000 in one week at Radio City Music Hall in New York.
In other words, business is perfect at the theaters.
That's one side of Hollvwood.
AT the Dallas Exposition recently nearly fifty '^thousand more people thronged to see Robert Taylor than went to see President Roosevelt. They had to pay to see Taylor too, while they got President Roosevelt free.
Which is another side of Hollywood — the business of creating and selling personality.
Then, currently, there is "The Astor Case." running the circulation of newspapers up by the hundreds of thousands.
And that reflects an aspect of Hollywood that is a bitter one to take.
Temple became Queen of the Screen rather than Mae West.
Business at the theaters responded instantly. The producing heads of Hollywood, realizing the fundamental truth they had been forced to discover, got more courage to put out truly artistic pictures.
Came "The Informer," "Mutiny on the Bounty," "A Midsummer Night's Dream," "Romeo and Juliet" and "Green Pastures." Unconventional pictures all of them — very expensive pictures with the exception of "The Informer"— but all possible failures done just for the love of doing something better.
since
I — IOLLYWOOD has made great strides ' ' "The Decency Drive" two seasons ago.
Then, in response to the demand of Church and public, a right-about-face was made. Sex was dropped as a picture theme and love substituted. Boldness gave way to romance. Shirley
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