Showmen's Trade Review (Oct-Dec 1949)

SHOWMEN'S TRADE REVIEW, November 5, 1949 25 Box-Office Slants Adam's Rib (Coil tinned from Page 23) tured cast whose names should be played up. Word-of-mouth will take care of the rest. Cast: Spencer Tracy, Katharine Hepburn, Judy Holliday, Tom Ewell, David Wayne, Jean Hagen, Hope Emerson, Eve March, Clarence Kolb, Emerson Treacy. Polly Moran, Will Wri^fht, Elizabeth Flournoy. Credits: Directed by George Cukor. Screenplay by Ruth Gordon and Garson Kanin. Photojrraphy, George J. Folsey. Song: Farewell, Amanda by Cole Porter. Produced by Lawrence Weingarten. Plot: A woman attorney and her assistant district attorney husband are antagonists in a "shooting-with-intent-to-kill" case. Strange goings-on in the court-room don't help the love between husband and wife, but it all ends happily after they arrive at the answer as to "who wears the pants?" Comment: MGM has a definite box-office winner in this screwball, sophisticated comedy that brings back the co-starring team of Spencer Tracy and Katharine Hepburn. The picture is loaded with laughs and laughprovoking situations which occur so fast and frequently that much of the dialog is crowded out. Although' the performances of Hepburn and Tracy are capable and convicing, they aie seriously challenged by the work of the supporting players, especially Judy Holliday, who became famous when she starred in the Broadway play, "Born Yesterday." Making her screen debut, Miss Holliday reveals such remarkable acting talent and ability that she wins enthusiastic audience approval. Her performance here should put her at the top of the list of screen newcomers, and moviegoers will be eagerly awaiting the opportunity to see her again. Excellent also are Tom Ewell, as her two-timing husband, and Jean Hagen, as the other woman. Another newcomer from Broadway. David Wayne, also impresses in a manner that portends a successful screen future. Credit for the film's laugh-provoking entertainment values goes not only to the well-chosen cast but also to Ruth Gordon and Garson Kanin for their screenplay, to George Cukor for his skillful direction and to Producer Lawrence Weingarten for the completed production. There is little necessity for extra plugging of the two stars' names, but special emphasis should be placed on the supporting cast names, for there is little doubt b'Ut that they will attract considerable attention and bring in extra business, once wordof-mouth spreads. Dancing in the Dark (Color by Technicolor) -' 20th-Fox Musical 92 mins. AUDIENCE SLANT: (Family) This film has about everything audiences want in their screen entertainment — comedy, good music, light and frothy dialog with a tug at the emotions, some spectacular settings, beautiful Technicolor photography and several masterly acting performances. BOX-OFFICE SLANT: Will draw the "tired" business men, the youthful seekers for romantic entertainment — in short, this is just what theatres need to attract crowds. Cast names alone should draw patrons in large numbers, but exhibitors also have exploitable angles in the Kaufman play on which the film is founded, charming sets. Technicolor photography and a romantic story acted to the hilt by outstanding players. Cast: William Powell, Mark Stevens, Betsy Drake, Adolphe Menjou, Randy Stuart, Lloyd Corrigan, Hope Emerson, Walter Catlett, Don Beddoe; Jean Hersholt and Sid Grauman as themselves ; Helen Westcott, Marion Marshall, Frank Ferguson, Charles Tannen, John Berkes, Harry Crocker and many others. Credits: Produced by Georgee Jessel. Directed by Irving Reis. Screenplay by Mary C. McCall, Jr., from Marion Turk's adaptation of the George S. Kaufman stage musical, "The Bandwagon." Lyrics by Howard Dietz. Music by Arthur Schwartz. Photography, Harry Jackson. Technicolor color consultant, Leonard Doss. Special photographic effects, Fred Sersen. Musical director, ,\lfred Newman. Plot: William Powell, a down-and-out Hollywood star, hated by everyone ever associated with liim, is sent by Studio Manager Adolphe Menjou to New York to induce Powell's former vaudeville partner, Walter Catlett, to allow Catlett's daughter, Randy Stuart, to star in a Hollywood musical. Powell ecounters 'B'etsy Drake, recognizes her as his own daughter, gives her a tryout and books her for the 20th-Fox musical. There is hell to pay when Powell returns to the studio with Betsy and a signed contract, but he overcomes Menjou's opposition and is selected to direct Betsy in the musical. Comment: "Dancing in the Dark" has about everything audiences want in their screen entertainment — comedy, some good music, light, frothy dialog with a tug at the emotions, beautiful Technicolor photography, several spectacular settings, topnotch direction and production, and excellent acting, masterly in the case of some old-timers in the cast — William Powell, Adolphe Menjou and Walter Catlett — and standout performances by two younger players, Betsy Drake and Mark Stevens. Howard Dietz's lyrics and Artliur Schwartz's music will add measural)ly to audiences' enjoyment of the musical. (Continued from Page 24) say or do at weekly luncheon meetings. Begin your public relations program right within the four walls of your theatre by having a heart-to-heart talk with your employe organization. Make them understand the purpose of the national program and how their support and ef¥ort is a MUST if the utmost is to be gained in the local segments that go to make up the national whole. Set up a good-deed-eachday scheme where some tab is kept of the diligence or delinquency of staff members with periodic prizes to those manifesting the most sincere interest in the handling of their jobs. Make it an incentive program so far as the staff is concerned and watch your "patron relations" improve. We all know the value of word-ofmouth advertising, so make it worth while for your employes to exert themselves to get the customers you already have talking about, and sending their friends to, your theatre. Once more, remember that you, as an individual, can never hope to accomplish this task. Remember that the first and most important step in any public relations program is successfully catering to and satisfying the customers you already have. Start today on a THEATRE — your theatre— public relations school to get your employe members on the beam. I don't know who said it first, but here it is again : "You, Mr. Theatreman, are Hollywood so far as your community is concerned." The conduct, appearance and attitude of yourself, your ushers, your cashiers, your operators and It will be a curmudgeon indeed who does not surrender to the charm of the story, settings and photography and to the capital acting of the leading cast members. It is just what the doctor ordered, not only for "tired" business men but also for the youthful seekers of romantic entertainment — and for the box-offices of theatres throughout the country. Not even the 20th-Fox institutional advertising, in evidence throughout most of the footage, can detract from audiences' enjoyment of the film. Powell gives one of his deftest performances as the old film star who has been "at liberty" for 1(1 years and makes a theatrical comeback, not as an actor, but as a director for his daughter's film debut. Menjou's performance as studio head runs Powell's a close second. Betsy Drake's film stature is greatly heightened by her acting, singing and dancing, and Mark Stevens is very good as the publicist long in love with Betsy. Cast names alone will attract patrons in large numbers, but exhibitors have other exploitable angles in the Kaufman play, the Technicolor camera work, charming settings, and a romantic story so well acted and directed that it becomes lilausible if not quite credible. All the King's Men Columbia Drama 110 mins. AUDIENCE SLANT: (Family) The elements that made "All the King's Men" a Pulitzer Prize novel have been brought vividly to the screen. This is compelling and forceful entertainment that should hold the attention of any audience. BOX-OFFICE SLANT: Without the support of top marquee names, this picture will have to be sold. But its high production values, superlative performances, and signi( Continued on Third Cover) your cleaners reflect to the credit or discredit of the attractions you play and exercise great influence on the number of tickets you sell. You and your staff must accept full responsibility in your community for the sins and virtues of Hollywood. The trouble, as of today, is that too few theatremen are familiar with — and practically none appraise their employe organizations of — Hollywood's many virtues. And, much to our discredit, there are entirely too many owners, managers and staff members who are inclined to lend voice to infrequent news of scandal and reluctant to loudly proclaim the industry's enviable accomplishments in the field of public good. For more than four years this column has consistently advocated the need of public relations at the local level supported by a national program sponsored by all three industry branches— production, distribution and exhibition. Now that such a national program seems in the making, a forthcoming article will review what's been said before as a sort of "refresher course" to assist the individual theatre owner in the building of a local framework that will supplement and support the national effort. AW of us know that the motion picture industry is a wonderful instrument to promote good for everybody. Let's follow Gael Sullivan's advice and go about the job of convincing our customers and potential customers — and that means everj'body — of our enviable past record and the ambitious aims we have marked for our future targets. Jack Jackson Public Relations No Part-Time Job