Variety (Jan 1940)

28 PICTURES Thirlyfourlh VARIETY Anmt'ersary Wednesday, January 3, 1940 1939 Hollywood Toppers .Continued from pace 3_ chaotic conditions that prevailed dur- ing the year, whtph included general retrenchment, only two really out- standing productions came through in the calendar year that were more discussed than any others and will prove exceptional boxoltice factors. .'Mr. Smith' and 'Gone With the Wind' were the industry topniounl-. ers, the latter coming late in Be- ccmbcr to the deluxe operations sO that its true commercial value will have lo come under the 1940 record- ing. The Directors Victor Fleming and Frank Capra lead the list of directors in top grossing films of the year. Work of each spans beyond the 12-niohth pe- ■ riod, technically. Fleming rates first place for 'The Wizard of Oz' and 'Gone With the Wind,' Capra quali- fies with 'You Can't Take It With You' and 'Mr. Smith Goes to Wash- ington.' Crowding these leaders are Michael Curtiz, with 'Dodge City,' 'Angels With Dirty Faces.' 'Daugh- ters Courageous' and 'Four Wives'; William S. Van Dyke with 'Sweet- heart.i,' 'Another 'Thin Man,' 'Andy Hardy Gets Spring Fever,' 'Stand Up and Fight' and 'It's a Wonderful World.' George B. Seitz scores with 'Thunder Afloat,' 'Judge Hardy and Son,' 'Hardys Ride High' and '0,000 Enemies.' In the general production group of releases there was an abundance of high-budgeted pictures, with re- turns on all, whether early in the year releases or the new 1939-40 sea- son output, somewhat retarded in the foreign market income. And with this general scope of production during the year, results find little if anything had been done to bring forth any overnight or sen- sational screen finds. Closest to any- thing like that is Vivien Leigh in •GWTW,' and she again cannot be classified as a 1939 boxoflice factor. Studios during the year, with the type of massive pfoduction that they concentrated on, seemed to rely to- tally on 'boxofficc insurance' and consequently used the potent estab- lished marquee factors as casting as- sets for top-bracket roles in the heavy costing output of the year. It showed, as a result, with the public, for Mickey Rooney again led the star parade in bOxoffice value. The Rooney popularity, though he was cast in Only half the pictures that he was used in- during 1938, was far stronger than any of the top bracket names in the entire film biz. Belte Davis Heads Femmes Heading the femmc contingent of stars was Bette Davis. Exhibs and theatre coin-spenders sort of banked on her previous Academy award, and consequently the four pictures that Warner turned out, with her starred or co-starred, had the heav- iest draught of product in which a iemme played the major role. Many of the major companies brought to the fore talent that they had been and are keeping under wraps to lead the boxoftice parade in the next year or two. Metro has several femmes who give indication of potent drawing strength, and also cashed in strongly on James Stew- art. The latter, however, did it off his own lot, as Clark Gable did, and became a strong b.o. fave in Columbia's 'Mr. Smith* and Uni- versal's 'Destry,' where he divided star ranking with Marlene Dietrich, making her film comeback. Diet- rich value, of course, is strong on this down-to-earth type of picture and Universal, should they have a fitting . vehicle for her in the New Year, will have one of the topnotch money-making stars of 1940 com- peting In value with any of the top- ranking group of the bigger major outfits. Gable, always a top asset for Metro, was without a picture in the entire year from his home company. However, with 'Wind' under his belt, Metro will capitalize on his value and probably turn out three or four during 1940 that will give him the top ranking spot of the year as a boxoftice magnet. Spencer Tracy and Myrna Loy, Metro contract players, each scored heavily In films produced away from their home lot Their most popular films were made by 20th-Fox—Tracy in 'Stanley and Livingstone' and Miss Loy in 'Rains Came'. ■ None of . the Metro established stars shone any too strongly in the femme division during the year, but studio hit a lucky number in Greta Garbo, whose change-about in characteriza- tion by Ernst Lubltsch for 'Ninotch- ka' has given her great domestic draw value. This should prove a so- lution 0/ her domestic stand with fans and probably make her a gravy- getter in the future from the home market, instead of depending on the foreign territory to .show the black on her pictures. Back to Zanuck Formula 20th Century-Fox, which was bear- ish on its massive productions for the foreign market with its outdoor, cavalcades and biographical piclurcs. will no doubt go back to tlie Zanuck formula of 'human equation' and headline product for the '40 season. Zanuck is pretty much sold on the idea that, with the foreign market a hazardous prospect on live coming year, heaviness must be taken out j of product; that the comedy angle to stories should be stressed; and the more intimate, lighter type of en- tertainment made the most depend- able for profitable investment. The Zanuck thought will probably be the general production trend of Hollywood for the New Year as stu- dios will be compelled to take into consideration added operation cost.'; and a limited foreign distribution market. They realize that little if any progress can be made in the Latin-American market toward ofC- setting whatever loss they may sus- tain as result of the limitation of European revenue. Where product was aimed for both the domestic and European market in the past, a happy formula at this time seems inconceivable to apply to the South American field and that of the Eng- lish speaking market. The South American lingual nut is too hard to crack, and the film companies are aware of it through past experiences in product turned out for the com- bined Latin and domestic market. Most lucrative return from that field for American-made product is in the western or outdoor type of pictures of which a considerable number have been turned out during the past year here. This market, which was a soft touch for the Doug- las Fairbanks and Tom Mix type of pictures, is going very strong in sup port of the Republic group of Gene Autry pictures. Autry, singing cowboy star, has melody in his pictures that is aimed at the Latin market and gives indication of be- coming an outstanding element in westerns as was Tom Mix at the top of his career. Though the U. S. Dept. of Coim- mercc and the Hays office are mak- ing a concentrated move .toward Im- proving American goodwill in the Latin-American market now, heavy concentrated effort has been made by Hollywood toward grinding out film entertainment appropriate for that market in heavy -budgeted pic- tures that would also be acceptable as top-notch entertainment in the do mestic market. Fantasy spectacles and costume pics from Hollyv/ood have better appeal in that market than do the pure American type of drama, comedy and serial brands of pictures. Can't Catch the 'Hardys' Hollywood in 1939 stuck pretty much to its formula of the preceding year. It went fairly strong on cer- tain series, such as the 'Hardy,' 'Jones Family,' etc. The 'Hardy' group proved the most responsive in return, having been soundly estab- lished with Mickey Rooney-Lewis Stone boxofflce ingredients. The 'Dr Kildare' series, which Metro cal- culated on being a runner-up to the 'Hardy* series, however, did not seem to stir above second-bracket rating. Same goes for the various other type of series features the stu dios have been making. Technicolor played a potent role in 1939 production. Naturally all of the pictures in which It was used were in the $1,000,000 budget or over and among those that found it to advantage at the boxofflce were the producers of 'Jesse James,' 'Dodge City,' 'Wizard of Oz,' 'Four Feathers,' 'Kentucky,' 'Elizabeth and Essex, 'Hollywood Cavalcade' and 'Drunis Along the Mohawk.' It also was used for 'Gone With the Wind,' 'Gulliver's Travels,' 'Swanee River,' Blue Bird' and 'Untamed,' which will be 1940 boxoflice contenders in the first brackets. Metro had the greatest number of top-money pictures during 1939. Leader in their group was 'Boys Town,* a winter release of 1938, with ISweethearts,' released at end of year, next in take. Studio also had as heavy money getters 'Too Hot to Handle,' 'Out West With the Hardys,' 'Mane Antoinette,' 'Hardys Ride High,' 'Wizard of Oz,' 'Huckleberry Finn,' 'Andy Hardy Gets Spring Fever,' 'Goodbye Mr. Chips,' 'The Women,' 'Idiot's Delight,* 'Three Loves _ Has Nancy,' 'Pygmalion,' Babes in Arms,' 'Another Thin Man' and 'Ninotchka.' Warner's top money getters of the year were 'Angels With Dirty Faces,' a late 1938 release, 'Dodge City,' 'The Old Maid.' 'Dark' Vic tory,' "Dawn I'atrol,' 'Jiach Dawn 1 Die' 'Four Daughters,' 'Brotlier Rat,' and "Yes, My Darling Daughter.' ■Josse James' was the leader of the 20th Century-Fox b.o. magnets, -with "The Rains Came,' a much later re lease. Riving indications of equalling if not topping that gross. Other big takers on the year were 'Stanley and Livingstone,' 'Kenlucky,' "Suez, and 'Ro.se of Washington Square.' Paramount's four top-bracketcrs on tlic year were 'Union Pacific,' 'Men With Wings.' 'The Starmakcr' and 'Beau Geste.' 'Gunga Din' BKO's Topper RICO did exceptionally well, its quota of top coin getters being led by 'Gunga Din,' outdistancing all the others; 'Carefree,' a late 1938 re- lease. 'Love Affair.' 'The Castles.' 'Bachelor Mother,' 'Fifth Ave. Girl,' 'III Name Only' and 'Hunchback of Notre Dame,' this a late 1939 re- lease. In the United Artists group there was nothing sensational so far as big boxoflice was concerncdi two of the top money pictures, 'Drums,' in late 1938, and 'Four Feathers,' be- ing produced in England by Alex- ander Korda. The other three were 'Topper Takes a Trip' (Roach), 'Trade Winds' (Wanger), and 'Man in the Iron Mask' (Small), the above nor- mal coin getters. 'Cowboy and the Lady," 'Algiers,' 'Made For Each Other,' 'Young In Heart' and 'Stage Coach' were somewhat below normal while 'Wuthering Heights' trailed. Universal had for its 1939 quota two late '38 releases. 'That Certain Age.' 'When Tomorrow Comes,' 'You Can't Cheat an Honest Man,' 'East Side of Heaven,' 'Three Smart Girls Grow Up' and 'Destry Rides Again' landed in the top coin brackets. Columbia had two Frank Capra pics, 'You Can't Take It With You,' a late 1938 release, and 'Mr. Smith Goes to Washington,* and 'Only Angels Have Wings' as its pace set- ters with 'Golden Boy' coming in under the normal average at the ticket window. The number of producer-directors at all of the major studios increased during the year. Those in these po- sitions are all top meggers who are generally cutting in on a percentage of the profits of their pictures. Metro took Ernst Lubitsch over for such a spot, also having Mervyn LeRoy do same chore. Paramount had Frank Lloyd and Wesley Ruggles on such deals. Frank Capra and Leo McCarey did one under these- conditions at Columbia, where also Howard Hawks and Wesley Ruggles have similar deals. RKO has Leo McCarey and David Butler ticketed, with addition of Gene Town* and Graham Baker and Stephens-Lang. Universal has John M. Stahl, Rowland V. Lee and David Butler as. producer-directors and also Harry Edington (now production head at RKO) for one picture. It adds for 1940 Jules Levy. ex-RKO sales exec. Warners and 20th-Fox, though giv- ing some directors producer control on their product, did not list them as such. Heavy 'Presume' Spendinc In all .plenty of coin was spent by all of the major plants on 'prestige' pictures as well as big productions. However, with the general market unrest in most instances these top- notch productions, especially those budgeted after the last half of '39, were pruned somewhat. The $1,- 000,000 and above pics were hit hard est. Metro went heaviest on pro duction costs, having, besides 'Wind,' which cost $3,800,000, of which Metro put in $1,250,000, such films as .'Wiz- ard of Oz,' 'Babes In Arms,' 'The Women,* 'Idiots Delight* and 'Sweet- hearts' in. the top-bracket cost group. Warners had. quite a number that hit around $1,000,000 on its list which included 'Dodge City,' 'Dark Victory' and 'Each Dawn I Die.* 20th Century-Fox had —'Jesse James.* 'Stanley and' Livingstone,' •Kentucky,' 'Drums Along the Mo- hawk' in the top costing bracket. RKO had 'Gunga Din,' 'Hunchback of Dotre Dame' and 'The Castles' as their most expensive. Paramount's top layout was on Union Pacific,' 'Men With Wings,' 'Spawn of the North,* 'Ruler of the Seas* and 'If I Were King.' Columbia had as its heavy budget- ers 'Mr. Smith Goes to Washington * Only Angels Have Wings* and 'Golden Boy.* Sam Goldwyn had some fancy- casting entries in 'Cowboy and the Lady,* 'They Shall Have Music' and 'Wuthering Heights,' all. over the $1,250,000 mark. Hal Roach had a heavy budgel on 'Topper Takes a Trip.' Other UA product from here hit below the seven figure mark in cost. Universal, though having coin getters in its lineup, did not hit over the $1,000,000 figure on its product of the year, closest being 'When Tomorrow Comes,' mode by John M, Stnhl. Fleming Year's Epic Director •Victor Fleming is easily the tops among dircctors' who made the big ger b.o. pics' of the year. Ho did 'Wizard of Oz' for Metro, which looks like a $5,000,000 grosser, and •Gone With the Wind,' which is fig- ured to do anything above $10,000, 000. That makes him the top coin gelling director of all times. Frank. Capra runs ne.\t with his two Columbia productions, 'You Can't Take It With You' and 'Mr, Smith Goes lb Washington.' They look like an easy $5,000,000 return via the b.o. for the company. Michael Curtiz is the outstanding b.o. director in the Warner fold. He had four that scored in the 1939 pe riod. They are 'Angels V'th Dirty Faces,' 'Dodge City,' 'Four Daugh- ters' and 'Daughters Courageous.' George B. Seitz still proves pretty important in the money division with Ihe 'Hardy Family' series at Metro, Edmund Goulding also rates in' the top brackets with two for Warners, 'Dark Victory' and 'Dawn Patrol.' Directors ns a whole proved very important during the past year. Many of the boys who formerly were term, contract meggers went out on individual basis, getting their week ly or per picture stipend boosted considerably, got story choice and cast, and managed to acquit them selves much better on this basis of operation than when they took what was allotted. Gross for most of the output these boys brought through for 1939 was most always above the initial seven figure mark. Metro, Warners and 20lh had most of the contract directors, Metro's list an especially large one. Musicals Musicals again on the year were less tlian in 1938, Metro having its MacDonalds-Eddys, 'Broadway Mel- ody,' 'Babes In Arms; RKO's Astaire and Rogers, and Paratnount's IThe Great Victor Herbert.' Indications point toward lighter story themes and comedy angles, and that mu sicals for the latter part of 1940 will again be dominant. Catting Down Stock Cos.' With general pruning going on during the year, most of the major studios almost depleted their stock companies. The small bit stock men and women were virtually eradicat- ed from majority of the studio pay rolls, as were top three and four- figure character and feature play- ers. This made the freelance mar- ket more necessary than in the past, with some of those who were strick- en from the weekly payrolls finding a chance to get into circulation more, though not having the 40-week check. These people, in general, however, earned as much if not more doing one-hall - to two-thirds the steady labor for their coin. It was figured that no such move would be made by such studios as Metro, Warners and 20th-Fox. But they did a rather sharp pruning act, Just what the intent for the current year with respect to building stock companies is not obvious as yet. But the studios are beginning to realize that some of the stellar marquee names they have been using are get- ting a little shopworn and will have to groom new talent for replacement. Gone from the Majors Among some of those who have been dropped by various major lots are Freddie Bartholomew and Helen Hayes, at her own request, by Metro, with Luise Rainer on the inactive list. Only new addition not to have made a 1939 picture on the lot is Eddie Cantor, who just started. On the 20th-Fox erasement list were Ritz Bros., Simone Simon, Anna- bella and Fred Allen. Paramount no. longer lists Burns and Allen, Mae West, George Raft, Harold Lloyd, W. C. Fields, Frederic March, Gladys Swarthout, Anna Mac Wong, Carol Lombard, Irene Dunne, Bar- bara Stanwyck and Buck Jones. Missing from the Warner fold are Dick Powell, kay Francis and Anita Louise. The RKO star groi was minus Jack Oakie, Marx Bros., Katharine Hepburn, Richard Dix, John Boles and Burgess Meredith. Sam Gold- wyn had no chores for Sigrid Gurie and Zorina. Walter Wanger did without Charles Boyer, Henry Fon- da, Frederic March and Madeleine Carroll. Selznick-Intornatlonal did not use either Janet Gaynor or Douglas Fairbanks, Jr.. who were its only star players of 1938. Hal Roach made pics without March and Virginia Bruce, stars for the com- pany in 1938. Of the 1938 star contingent miss- ing last year were Danielle Darricux. Victor McLaglcn, Sally Eilers, Ran- dolph Scott, Warren Williams, Con- stance Bennett, Gail Patrick Hope Hampton. Of course, the fact they went n» the star list of the diirercnt stiiHi» did not drive many of them the screen. They free-lanced on . per picture basis, some of them dr^ ing more chores than in prevlZ ycars^ With most of tlic major plant, planning fewer number of pictur^ on the year, it is likely that plcn^ of separation of chaff from the wheat will be done during tho new year Many of the studios v. abandon the so-colled B's and B-minus prod' uct, and those who are not geared to mount into the better grade of prod, uct may find themselves quite un. necessary for production. This process will not be alone among actors, but will apply also to writers and directors. It will in no way mean that salaries will fall with a crash or that people will, not get proper remuneration for their work as during the last half of 1939 when outstanding actors, directors and writers found little trouble in getting salary adjustments commensurate with their ability. Plenty of people had their earnings bo6.<ited 50% to 200%. Mickey Rooney was the out- standing example of youthful screen progress, getting the tilt from around $1,000 to $5,000 a week. However, at the same time de- velopment of new star faces was A. most nil' in Hollywood. Stewart Moved Fastest James Stewart made the most marked progress among the male star contingent. This, however, he did away from the Metro lot where he is under contract. He had one pic, 'Made for Each Other.' opposite Carole Lombard for Selznick-Inter- national; 'Mr. Smith Goes to Wash- ington,' and 'You Can't Take It With You' at Columbia, and 'Destry Rides Again' at Universal. Cary Grant con- tinued to be much in demand, as did Douglas Fairbanks, Jr., and Ran< dolph Scott. Also making important progress in the male section was David Niven, who chorcd for Goid- wyn, RKO and Selznick^nterna- tional. In the femme division the only name to spring up with a bang over night is Vivien Leigh in 'Wind.' Just what her fate may be as result of this job in the future is most prob- lematical. She will need most care- ful and timely casting and care must be taken that parts she plays are not contrasted to the 'Wind' role. Greer Garson, whom Metro brought from England after 'Mr. Chips,' also proved a find, whose value, however, will have to be determined by 1940 efforts. Coming from secondary roles to leads in the year was Jane Bryan at Warners, who looks like potent film value in the future. Priscilla Lans at Warners also came forward In three or four pictures. On the 20th-Fox lot' to the fore came Linda Darnell, a Jesse Lasky radio discovery; Mary Healy, Doris Bowdon and Brenda Joyce. Betty Field is the only comer from the Par- amount minor group, having done outstanding work in two pictures, with 'Mice and Men' the last Universal brought forth a couple of kidlets. Baby -Sandy and Gloria Jean. Also a fine prospect on that lot is Barbara O'Neill, who got her first break in 'When Tomorrow Comes' and also did fine work in Tower of London.' Lana Turner showed quite a sexy flash at Metro and is being groomed for the Jean Harlow type of roles. Also being developed toward a star- dom goal on that lot is Ann Ruth- erford. Bad Tear (or the Comics It was a bad year for comics as none of their screen endeavors seemed to be of boxoffice conse- quence. Marx Bros, and Ritz Bros, pictures did not bring any glee to exhibs' hearts. There is little in preparation for star comics on the 1940 period, which will bring in the late '39-40 and early '40-41 product, excepting Paramount's Jack Benny- Fred Allen film, another of those radio 'feud' aftermaths, a la Win- chell-Bernie. Also the hillbilly formula is a thing of the past with the major co'mpanies, leaving that type of production entirely in the hands of the indies. Fantasies on the Way Industry may go strong on the fantasy typejpf production which got its initial start with 'Snow White last year and which brought forth 'Wizard of Oz' from Metro, 'Gulliver from Fleischer-Paramount, and 'Pin- nochio* due shortly from Walt Dis- ney (RKO). Also coming eJrly this year will be '1,000,000 B. C from Roach; 'Dr. Cyclops' from Paramount and a prehistoric yarn p»lerned along the lines of 'The Lost World by Cooper-Schoedsack from Metro. In the strictly western market. DroduetlonQ Hnno witliout SUPer-