Showmen's Trade Review (Oct-Dec 1948)

SHOWMEN'S TRADE REVIEW, October 23, 1918 29 PICTURES STARTED LAST WEEK COLUMBIA. The Devil's Henchmen — Principals: Warner Baxter, Mary Beth Hughes, Mike Mazurki. Director, Seymour Friedman. MONOGRAM. Bomba, the Jungle Boy — Principals: Johnny Sheffield, Peggy Ann Garner. Ditector, Foid Beebe. RKO. Stagecoach Kid — Principrls: Tim Holt, Richard Maitin, Jeff Donnell. Director, Lew Landers. SCREEN GUILD. Son of a Gunman — Principals: Lash LaRue, Fuzzy St. John. Director, Ray Taylor. 20fh CENTURY-FOX. Triple Cross — Principals: Tom Conway, Steve Brodie, Barbara Billingsley. Director, Edward Cahn. TITLE CHANGES "The Doolin Gang" (Col.) now WILD BILL DOOLIN. "An Act of Murder" (U-l) now LIVE TODAY FOR TOMORROW. Set-Up. " Eelieve it or not, this story was adanted for the screen by Art Cohn from a poem ! A special train left Hollywood Monday night for three weeks of location shooting in mountains near Sonora, Calif.; over 100 cast and crew members of Samuel Goldwyn's "Roseanna McCoy" were aboard. Goldwyn is using this site because of its close resemblance to the West Virginia mountains where the Hatfield-McCoy feud occurred. Producer Lindsley Parsons got his "Tuna Clipper" under way on location at San Diego Oct. 22, for Monogram. That studio evidenced further signs of increased activity with the kickoff of "Bomba, The Jungle Boy." Johnny Sheffield and Peggy Ann Garner co-star in the Walter Mirisch production, with Sheffield in the title part. Johnny, who is now 17, portrayed Tarzan's son for quite a few years until he outgrew his role. Barney A. Sarecky was named last week to handle the reins on Monogram's new western series to star Whip Wilson, rodeo champ, who will appear in six films for the 1948-49 program. The first, "Crashing Through," starts Oct. 25. Columbia put "The Devil's Henchmen" into work Oct. 21. This is another Warner Baxter crime starrer with Mary Beth Hughes. Jennifer Jones Set for Stage 'Romeo 61 Juliet' 'Following a year of one of the busiest screen schedules ever attempted by a top star, Jennifer Jones will turn her talents to the stage in a Theatre Guild production of "Romeo and Juliet" planned for next season. The stage production, entirely a Theatre Guild enterprise, will culminate negotiations between the Guild and David O. Selznick, to whom Miss Jones is under exclusive contract, for more than a year — or from the time Mr. Selznick announced his' intention and desire that the star should play Juliet on the stage. In the latter part of this year Miss Jones will be seen in her recently completed role in' S'elznick's "Portrait of Jennie." This will be followed by "Rough Sketch," for Columbia; "Madame Bovary" for MGM; "Trilby" for Warner Bros. ; and "Tess of the D'Urbervilles" for Korda-Selznick. Video Film in Work "H.M.S. Pinafore," first of a new series of Gilbert & Sullivan operettas to be produced for television by the newly-formed Film Operetta Company, is in production at Republic studios on 16-mm. film, with Walter Colmes producing and directing. Aside from renting the space, Republic has no connection with the project. LONDON OBSERVATIONS British Independent Producers Face Black Future as Fewer First Features Needed Even to Meet 45% Quota Jock MacGregor By JOCK MacGREGOR Currently, the blackest future in the industry is that of the independent producer. Nobody seems to want him. One is negotiating for the disposal of his artists' contracts, others are turning towards the continent. Alfred Shipman, the stoutest of them all, has some $2,500,000 of his own money tied up currently in pictures and is understandably none too happy. Despite the new quota act, independent offerings are rapidly becoming uneconomic. The circuits whose bookings are vital have become so streamlined that only 70odd first features are required to meet even a 45 per cent quota. Rank aims at a higher figure but will no doubt satisfy this from his own resources. Without such a release, the dice are loaded against him. He can get his money back. George Minter has proved this with 'No Orchids for Miss Blandish," but it has been hard work, very hard work. Shortly, matters will worsen with the opening of the Associated British and Warner studios, for the ABC circuit will obviously draw on these rather than outside sources. Korda's position will be complicated, for he relies on this outlet, and there are only limited dates. The official viewing committee can order each circuit to take six independent pictures annually, but this is virtually a farce, for it includes the three bookers who could have presumably already refused to take the films submitted. The $20,000,000 government film finance corporation will not help a great deal, because they stipulate a guaranteed circuit deal and are only interested in programs, not individual productions. Oddly enough, the independents' friend in London, as in Hollywood, is the Bank of America which has provided the money for many efforts. However, they are only interested in single picture propositions. Not even second-feature production is their salvation. Generally, they are not geared temperamentally or commercially for this field. Costs are out of all proportion to the potential return, especially now that Rank's suggested percentage rentals of 50, 40 and ZZYz are for the program and not merely the feature. With the new quota, much ill feeling has been created and few exhibitors book more than their legal obligations. Many small cinemas which took the independent output are now exempted under the act from showing British at all. A practical showman's charter is wanted and the Rank proposals, if confirmed may inaugurate it. The goodwill lost by the quota must be restored and damage done by the ad valorem duty repaired. This thoughtless move benefited no one, but smashed the beachhead which British pictures were making on the American market. Rank's generous terms must be analyzed. They hint at far-sighted policy but can well be construed as a further shot in the cold war to get more bookings for his product, thereby creating followers among exhibitors and fans alike. They have certainly caused a rumpus within the BFPA, since some members consider that as their chairman he has indirectly committed them. * * * The world's newest circuit, Rank's Circuits Management Association, in the first issue of their house magazine "Circle," claims the world's oldest cinema. The Music Hall, Chester, dates back to 1280 when it was built by the Abbot. In 1545 it became a common hall and later a place of entertainment. By 1773 it was the Theatre Royal and featured such artists as Garrick, Kean, and Mrs. Siddons. During 1855 it was partly reconstructed and was a music hall until movies took over in 1910. In 1921 it was again reconstructed, but some of the original walls stand and some buttresses were probably built in the late 13th century. Shortly, Manager W. E. Mulvey will be retiring after being at the theatre 36 years. Chief Projectionist Tom Sutton commenced as night watchman in 1927 and graduated to the booth. An American citizen, born in New York, he married the Music Hall's cashier, Miss Muriel Sharp, in 1941. For the record: There are signs that the Johnston edict on all-American programs is taking effect . . . Rank's "Blind Goddess" is teamed with PRC's "Heading for Heaven," released by Pathe, which is aligned with the rival ABPC group . . . Exclusive's reissue of "Merrily We Live" goes out with "Esther Waters" . . . "Hamlet" moves shortly to the Odeon, Marble Arch . . . Producer Paul Soskin is making personal appearances in connection with "The Weaker Sex" in the provinces. Filmack GIVES VOU THE BEST VALUE IN SPECIAL! [TRAILERS THREE COMPLETELY | EQUIPPED PLANTS CHICAGO , 1317 » WABASH AVE NEW YORK 145 WEST 55 STREET SEND US YOUR NEXT ORDER / Now Specializing^ in Refreshment Service for DRIVE-IN THEATRES/ SPORTSERVICE, Inc. Jacobs bros. j HURST BlDG. BUFFALO, U. Y. New Ideal Theatre Chairs JOE HORNSTEIN has it!