Showmen's Trade Review (Oct-Dec 1949)

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SHOWMEN'S TRADE REVIEW, October 8, 1949 29 Studio Roundup Once upon a time you could keep both eyes on major production activities, with an occasional glance toward an independent. Now it looks as though an occasional glance ^is , not enough, for independent activities are increasiggo' You have to keep at least one eye on them. Last week, if you remember, we reported three going before the cameras in various parts of the world. Now along comes three more, and these are being made right here in Hollywood. They are : "Wrong Guy," which Frank Seltzer is producing: "Flying Saucer," being made by Mikel Conrad, and "Personal Record," the first efifort of a new company. World Artists. "Wrong Guy" has Eddie O'Brien and Joanne Dru in the top roles, with Joe Newman directing ; Conrad is star, producer and director for "Flying Saucer," and Irving Reis is directing "Personal Record," with famed pianist Artur Rubinstein starred. But the majors are also active, too, accounting for the seven other pictures which went before the cameras. At Columbia, Sam Katzman started "Captive Girl." another Johnny Weissmuller film, while D. Ross Lederman began directing Stanley Clements, Leon Tyler, Myron Welton and Gene Collins in "Military Academy." The Cinecolor "Blue Grass of Kentucky" got underway at Monogram with Bill Williams, Jane Nigh and Ralph Morgan in top roles. William Beaudine is directing for Producer Jeffrey Bernerd. "Borrowed Guns." the fifth in the studio's Whip Wilson western series, also got the green light. Lambert Hillyer directs. Vaughn Monroe to Screen Your patrons have heard him on the radio and probably own many of his records, especially his best-selling version of Riders in the Sky. Of course we mean Vaughn Monroe. Well, he's coming to the screen, sure enough, in Republic's "Singing Guns," a Trucolor film in which he is co-starred with Ella Raines. "The Hawk and the Arrow," large-scale romantic drama which Norma Productions will release through Warner Bros., went into work last week with Burt Lancaster and Virginia Mayo co-starring. The Technicolor epic is being co-produced by Harold Hecht and Frank Ross, ivith Jacques Tourneur directing a cast of thousands. Meanwhile, Vincent Sherman began directing "The Victim," which co-stars Joan Crawford and David Brian. "September," the Hal Wallis production for Paramount which was on location in Italy, resumes filming at the studio late this month upon the return of Director William Dieterle. LONDON OBSERVATIONS Idle StageSf Studios for Sale, Salary Cuts, Errors in Production Seen Aftermaths of Quota Act's First Year Columbia Films Set For Location Shooting Plans are being completed at Columbia for location shooting on certain of its forthcoming films to insure authenticity. Producer-director Robert Rossen is planning to shoot "The Brave Bulls" principally in Mexico. Producer S. Sylvan Simon is scheduling locations at Jamaica, W. I., and the Virgin Islands on "Virgin Island." Producer Robert Cohn will film most of "The Killer That Stalked New York" in — welj, where do you think? Producer Harry Joe Brown plans to film most of "Fortunes of Capt. Blood" at Catalina Island, and two other major Columbia pictures — "In a Lonely Place" and "The Glass Heart" — will be filmed principally in Beverly Hills, actual locale of the plots. Jock MacGregor By JOCK MacGREGOR For the past week British exhibitors have been completing their quota returns for the year which ended on September 30. The results of the first session of the 45 per cent rate will not be known for some time, but even with reliefs, it is conservatively estimated that the total number of cinemas, circuit and independently owned, to fail in their obligations will exceed four figures. It would appear that for the third time legislation to foster British film production has failed. The greediness which asked for a 50 per cent quota has resulted in a bilious attack and a consequent weakening of the system. The need for a more varied diet was ignored by the sponsors who believed the public must go to the cinema, regardless of the fare, in the same way they knuckled down to rationing. Today, many stages are idle, the Shepherds Bush and Isling studios are up for sale, and the majority of the industry who are not unemployed have received a 10 per cent salary cut. That sums up the help of the unrealistic act. The Unions may be blamed for restrictive practices and some rising costs, but they cannot be held responsible for the choice of subjects or the indecisions of certain producers which result in drifting budgets. Far too many pictures are made and then months afterwards partly re-made. In the past week players have been re-assembled for new scenes for "Travellers Joy" and "Boys in Brown" which have been off the floor for a long time. Proper scripting and planning in the first place would have surely eliminated the need for this. The first quota act was passed in 1927 and shortly afterwards many film production companies were formed, but few continue to function. British International became Associated British and flourishes more brightly than ever. Gainsborough (Pictures (1928) Ltd. has lost its studios and all but been absorbed in the Rank Group which has also drawTi in the British and Dominions Film Corporation. This was formed by Herbert Wilcox, but is now a studio holding company. British Lion has withstood the changes from those early times and Ealing Studios have grown out of Associated Radio Pictures. Butchers has w^eathered the storm from the days before the first Quota Act. All too many are apt to forget the good pictures made here between the wars. They rightly cheer Laurence Olivier's Academy Award for "Hamlet," but are ignorant of the fact that fifteen years before Charles Laughton was similarly honored for his work in a British picture, "The Private Life of Henry VIII." They forget that others, like Ralph Richardson, Vivien Leigh, Madeleine Carroll, Rex Harrison, Ann Todd, Robert Donat and Anna Neagle, served their apprenticeshiDs in these films, to say nothing of directors Alfred Hitchcock, Victor Saville and Carol Reed. The salvation of the British film industry lies in making pictures which are commercially slanted and will sell themselves. Merely to seek legal protection will never create anything save disaster, for no government can ever make patrons see a picture they do not want to see. To concentrate on official channels may be correct and achieve ultimate results, but goodwill and showmanship pay the quicker dividends. Passing through London on his way back to the U. S. after visiting most of Europe. Bernard Kriesler held a press conference to explain the objects and progress of International Film Associates. Planned to offer a cooperative distribution setup for European pictures in America, active operation will start next month when eight to twelve features will be available for release. Pictures not deemed suitable for general distribution will be available for television and 16-mm. use. Participating companies will receive a dollar payment immediately a picture is accepted by the independent viewing panel, and it is believed by offering the specialized theatres, university and town hall groups a substantial pro.gram, better terms will result. Kreisler has received much U. S. government support and it is obvious the scheme is being most favorably receivfed by the Italian and French oflicials who have long wanted to see their pictures more adequately exploited in the .\merican market. In common with Britain, they regret that the payment for entertainment films is. for the most part, one way. While franchise members must offer IFA first refusal on all product made within a year, they can place it elsewhere in the U. S. if it is rejected. Kreisler expects at least two British films to be included in the first group and points out that IFA will also arrange European distribution for Hollywood product. Several deals have already been concluded in this direction including the sale of "A Night in Casablanca" for Sweden. IFA will have resident managers in the European capitals. * * * Seven leading French producers have joined together to exploit their output in Britain. Under George Arnull they have taken over the Rialto. one of the West End's first cinemas, had it reequipped and redecorated and opened with a gala premiere under the patronage of the French -Ambassador. "Le Grand Balcon" was chosen for the occasion. * * * MGM held a reception to welcome John Hodiak and Cathy O'Donnell, who have arrived lo take up their roles in "The Miniver Story." which has now started production at Elstree with Greer Garson and Walter Pidgeon in the leads. H. C. Potter directs and Sidney Franklin produces. Goldwyn Buys Novel Samuel Goldwyn has acquired "Come to Me." an unpublished novel by John De Roth, as a prospective vehicle for Farley Granger and loan Evans. Venuta in 'Annie' Benay Venuta has been signed for a role in AIGM's "Annie Get Your Gun."