Variety (Sep 1941)

12 INTERNATIONAL TARIETTV LONDON OETIOB NAZIS AID FRENCH FILM PRODUCTION, REALIZING SALE OF OWN PIX IS FUTILE Commendable Progress Made by Gallic Com- panies Though It's Still a Far Cry From the Old Days Paris, Sept. 2. With the first full pic season of the post-armistice period gone into limbo, France finds herself a long cry from the proud position she once occupied in the cinematographic world both for quantitative and qualitative production. Whatever progress has been regis- tered is quite commendable, however. The will to produce, the will to maintain former high standards and • the will to give expression to a par- tially gagged voice despite the many obstacles encountered, is growing ■with each succeeding day. For the Nazis, the French pict in- dustry could be a very useful thing, Indeed. As France would be per- manently added to the list of nations In the totalitarian lineup, its cinema would become another powerful ve- hicle for fascist propaganda. Fur- thermore, French cinema, for which the Germans have a healthy respect, could be made to produce a rich har- vest of earnings for German capital. The Germans already directly con- . trol all the industry in the occupied zone and indirectly that of the free zone. After victory this temporary state of affairs could be made per- manent. A Frenchman close to the trade revealed to Vapiety that the Ger- mans have proved to be pretty good psychologists in the pic bizT They have realized that the continent, which they control with their army and power politics, cannot be brow- beaten into spending to see Nazi pix. So they have gone ahead and encouraged French producers— as they have done in Spain, Italy and other countries where German pic money is Invested—to turn out films of purely national vintage, appar- ently foreign of any German influ- ences. French and German-French fa- caded firms have been active since the fateful armistice was signed In June, 1940. Continental has become the most powerlul and active Ger- man-controlled French firm in the occupied zone. 20 Fix Completed In the year that has followed the armistice some 20 pix have been completed in French studios. Of this number about five were started be- fore the French lay down their arms while the remainder have been com- pletely new productions. The num- ber of films started before and dur- ing the outbreak of war, and not yet completed, is not known, because the mortality rate is high. The Germans destroyed some, the French others While that Is not exactly high- powered production in the Holly- wood sense of the word, it is not a total to be sneezed at, and shows that the French still have a hold on lifi even if some of the injection fluid Is Aryan. With the go signal given to Retour ~ In the free zone, 22 pictures are pres- ently on the lot in various stages of completion. Another 15 or so are slated for early production, while another 30 are already skedded for next season, with actors and direc- tors already announced. New legislation, on the whole, has had more of a hampering than a sal utary effect on the industry, thereby bringing it into line with the re- mainder of the political picture, in several cases steps have been taken lb needle ' the muchly harassed and crippled, industry. One of the few bright spots in the dim film horizon Is the Vichy gov- crnm£nt's placing of 50,000,000 francs (over $1,000,000) at the disposition of the industry to help bolster pro- duction. While one or more rats can be smelled in the woodpile, it should do more harm than good, even though It places the industry in the •ame relation to the government as In Germany, Italy, Spain and other countries of the same Uk. decreed that it will advance as much as 65%. of the film cost of production if the producer can show proof of needing and meriting It. Naturally, the scenario, director and acting tal- ent must be acceptable, and'producer himself must smell right, politically and. socially. In many cases, how- ever, it will bring aid' to the small but talented and square-shooting producer. Tough t« Submit Some of the high-ranking meggers of the old order may find It rather tough submitting to the dictates of the 'Vichy lords. In desiring to pre- serve some independence they may be liquidated In favor of more medi- ocre talent which favors collabora- tion with the new order. The only hope remaining is that good old French common sense and the laissez faire mentality has not been com- pletely crushed. Legislation recently passed cur- tails the length of feature pix and taboos double-featufe programs, with object of spurring on produc- tion of documentary and other short features. This legislation becomes effective this week. From this week on, too, programs in the free zone will have a documentary or newsreel and an animated or short feature for the first half of the program and a long-footage feature for the second half. TTiis policy has been in effect In the occupied zone since last June 1. Length of long- footage feature pix after Aug. 27 in both zones were reduced to 4,225 feet, with the entire program limited to 12,350 feet Before Aug. 27 pro- grams had already been limited to 13,975 feet and feature films to 5,850 feet. This naturally necessitated much shearing of already completed films and a complete revision of pic- tures on the lot or about to go on the lot, while It will alter the con- ception of film production in the future. HOLD UP'GONE' FOREIGNDATES Selling Slow ; Continued from page Despite the fact that 'Gone With the Wind' Is presently polishing off the bulk of it* second year (second- run) dates in the'domestic market, the picture li not being rushed out Into the cheaper runs in the foreign field, particularly the British Em- pire, though it's been playing a second time In some countries. Large grosses anticipated from 'Gone' at lower admission scales would be partly tied up in Britain and Australia and New Zealand be- cause of prevaiing frozen coin pacts which permit the withdrawal of only about one-third of net revenue. Picture Is still playing in one of its original first-run theatres in Lon don. 'Gone' has chalked up 8 weeks to date in that city, with the film now in its 5th consecutive week at the Ritz, the underground house which also serves as an air-raid shelter. Film originally ran five weeks at the Ritz but returned after doing 12 weeks, at the Empire and seven at the Palace. This makes 61 weeks in all at the raid-sheltered Ritz. Elsewhere in Britain, it has played only the main key cities. Picture likely will go out on second-year prices as soon as there is a light- ning of present frozen coin restric- tions. through until October or November —some even December. Many in- stances are reported where exhlbs have 50 to 60 new features currently on hand, being films due them under the 1940-41 contracts or new pic- tures from indies or non-consent companies. There are thousands of such subsequent-run accounts In the U. S„ which is not making the going- any pleasanter for sales forces. Salesmen have made the rounds with their first batch of 1941-42 of- ferings, "but exhibs' interest is low because of the product on hand to carry them along for two or three months. This is perhaps the greatest single factor to hold up setting new deals under the Consent Decree or to rush into new commitments for the full year's lineup offered by other distributors. It Is proving an added headache to go along with the general tendency to hold bacf; and see what happens with other com- panies under' the Decree setup. Smaller Exhib Stalling It now looks as it 8,000 to 10,000 theatres in communities of 5,000 population or larger are going to hold off making 1941-42 deals until October at the earliest. Others have sufficient backlog of product to wait until November or December. By waiting until then, the average exhib in such spots will be able to buy three or four blocks, made up of 15 or more features. Idea of making deals for 15 or more features' by numerous subse- quent-run exhibs Is already develop- ing into an industry trend. Instead of any mad rush to grab up initial groups of 3-5 films, many exhibitors are waiting for an accumulation of several groups before seeking prod- uct pacts. This is to the liking of the ex- hibitor because he realizes from past experience that he will be able to buy 30-40% cheaper in Novem- ber than presently. Another angle, of course, is, that none can use the new product until later this fall, even if bought today. Subsequent-runs are helped by the clearance setup which enables those in smaller cities to play normally six to eight weeks back of national release date. This keeps them from showing most pictures until near the end of October (excepting 20th-Fox which had new product on release in August). Added to this factor is the setup which finds dilatory buy- ers, admittedly with a bunch of features, which they haven't picked up from 1940-41. These small city exhibs count for something when it is realized that the average distributor sells to some 6,000 of them out of 10,000. Even if the distrib gets only an average price of $25 per picture, it means $7,500,000 for the company handling 50 features annually. Names 'Reds' s Continued from page 3^ Day in From Brazil John L. Day, Paramount's man- ager in Bra2U, arrived in New York last week. He'U huddle with John W. Hicks, company's foreign chief, and other ard Lawson, Lester Cole, Joel Sayre and Madeline Ruthven. William Dieterle, King Vidor and Clifford Odets also come in for men- tion because they were interviewed by the Daily Worker and their 'opinions, by some coincidence, fitted into the current drives backed by the Stalin trade journal.' 'Commissars' Herbert Biberman, along with Lionel Slander and Ornitz, is labeled a 'political commissar,' because he tutored 'a sort of informal workers school' at the Hollywood Health Cafeteria. Among Red Front or- ganizations Lyons names is the Theatre Committee for the Defense of the Spanish Republic, among whose patrons were George Abbott, Heywood Broun, Rex Ingram, Al- bert Maltz, Herman Shumlin and Albert Bein. Another, Lyons says, was the Hollywood Citizens Committee for the Federal Theatre. Its supporters are named as Helen Gahagan, Gil- bert W. Gabriel, Anthony Veiller, Joseph Santley, Viola Brothers Shore, Sylvia Sidney and Alan Campbell. 'Films For Democracy' is another group listed by Lyons, with sponsors mentioned including Lee Pressman, Helen Hall, Ned H. Dear- "ackson, Walter StoU to Try Vaude For London Theatre tiondon, Aug. IS. Sir Oswald StoU has changed his mind about the new policy of StoU's theatre, Kingsway. Originally in- tended to play one picture and five acts, policy Is now to be straight vaudeville, starting Sept. 1. Opening program will be headed by Billy Cotton's band and Randolph Sutt6n. Second week has Joe Loss' band as topper, supported by O'Gor- man Brothers and six acts. Others lined up are Ronald Frankau, Troise and his mandoliers, Les Allen, Douglas Byng, Jack Doyle and Mo- vita, Rawicz and Landauer, Carroll Levis. Experiment is for five weeks, and if a success will run indefinitely. GOLDWYN SEEN RELEASING PIC ONSPITHRE London, Aug. 15. With the addition of David Niven to the cast, co-starring with Leslie Howard, 'Spitfire' is understood pen- ciled- in for release by Samuel Gold- wyn. Niven is getting special leave from his army post. 'Portrait of a British Foreman,' next in line for Ealing Studios, will star Tommy Trinder. Yarn is an original by J. B. Priestley. 20th's 'Young Mr. Pitt,' starring Robert Donat, is on a 12-week shoot- ing schedule. Big budgeter has 128 speaking parts. Original yarn was scripted by Viscount Castlerosse; Sydney Gilliat handling the screen- play. In the featured brackets are Robert Morley, Felix Aylmer, Frank Pettingell. Femme spot went to Phyllis Calvert, her second big role for 20th. Ealing Studios' 'Siege' (formerly Big Blockade') completed. ■Hard Steel.' for GHW Produc- tions at Denham, added Hay Petrie to the featured lineup. Picture Is from the novel, 'Steel Saraband,' by Roger Dataller. 'Flame' Fair $7,500 In Skidding B. A. Buenos Aires, Aug. 26. It's a pretty bad week all around when a second-run house with a triple feature comes into the first money division. But that's the sit- uash. 'Flame of New Orleans' did a fair $30,000 ($7,500 U. S.) at the Opera, but the surprise was the Ocean, ordinarily not even listed in the place division. .However, films at latter were 'Comrade X,' 'Kitty Foyle' and 'South of Suez.' Estimates in pesos, currently at 25c (4.15 to the V. S. dollar) follotu: Ambas.sador (La'utaret and Cavalo) (1,400; $2, $1.50) — 'Affectionately Yours' (WB). Only fair with $11,000, just about what the fourth week of 'Great Lie' did the week before Ideal (Lococo) (1,046; $3, $2.50, $2) —'Citizen Kane' (RKO). Holding to nice $18,000. First week $23,000. Bex (Cordero, Cavalo and Lau- taret) (3,305; $2, $1.50)—'Ziegf eld Girl' (M-G). Fair $20,000 after a very nice $43,000 for the first sUnza. Normandie (Lococo) (1,420; $2. $1.50)—'Nice Girl?' (U). Quite sat- isfactory $18,000 with Durbin the draw for this second run, better than the $10,000 second week at the Ideal, and just about up to the first run. Monumenial (Coll and Di Fiore)— 'Persona . Hofirada Se Necesita' (Lumiton - Argentine-Made). Satis- factory with $11,000 but no great shakes. Opera (Lococo) (2,500; $2.50 $2 $1.50)—'Flame of New Orleans.' Did $30,000 despite so-so reviews and blue penciling. Broadway (Lautaret and Cavalo) (1,863; $2, $1.50)—'Eran Nueve Sol- terones' (Gibe-Radiolux; French) $10,000, somewhat better than the last French-made here, 'El Lago de la Damas.' Su.ipacha (Lococo) (950; $2, $1 50) —'Public Deb No. 1' (20th). Not bad $12,000, although comedy didn't always get across to localites. Ocean (Coll. Di Fiore, Gattl & £?• «l-20)-*Comrade ^ (RKO) and 'South of Suez* (WB) for a house record of $23,000 in this second run- ner. Wanger, Libby Holman and William E. Dodd. Frandhot Tone is credited with being among the most active work- ers in behalf of the Spanish Repub- lic cause, • with donors including Fred Keating, Guy Endore, Biber- man, Sidney Buchman, Cobb, Lewis Milestone, Gale Sondergaard (Mrs. Biberman), Nicholi and Stewart Tax Jump ^Continued from page Tj the Senate formula likewise were pruned as time went on, so that the committee report will predict a to- tal '^aln of $97,800,000 above the present receipts from this source. Encouragement for industry peo- ple fearing the bite will hurt trade was seen in the attitude of chairman Walter F. George, Democrat of Georgia. He was against the idea of upping the tariff, though he did not state his feeling publicly, so there is chance he will not insist on keeping the revision in the bill if the House conferees make a fight when the secret parleys are held Actual vote by which the levy was stiffened in committee was not an- nounced, though it is understood top-ranking solons on the panel were generally against any boo.st In the rate. The Treasury's figures and com- mittee experts' guesses were hard to reconcile, while the process of esti- mating the productivity of bites on the ticket-buyers was of . the grab- bag kind. On the whole, there is pretty general agreement the rates proposed by the Senate would boost the Treasury income from admis- sions to the vicinity of $175,000,000. How "They Figure It At the outset, statisticians said the removal of exemptions and up- ping of the percentage would bring in $72,500,000 more than the $60,- 000,000 expected from the House action dropping the base to lie. This would mean a total grab from patrons of $208,500,000. Finally the table issued by the Finance Com- mittee listed the prospective yield at $97,800,000 more than the pres- ent law brings in, making the likely haul approximately $173,800,000. This would be close to 10 times what was taken in annually during the period 1933-39. In hitting amusements hard, the Senate unit also stiffened the yearly fee on slot machines of the payoff kind, lifted the raw stock tax from newsreels, exempted civic concerts reluming no profit to sponsors, and sliced the bite on bowling alleys - from $15 to $10 each. Persons main- taining mechanical gadgets that hi- voWe gambling for either coins or redeemable tokens would have to , pay $200 apiece for an annual license, but Jukeboxes, flicker machines, etc., would be taxed only $10, as against the $25 fee proposed by the House. Evil of 'Pull' s^Contlnned from page < broken the hearts of many pro- ducers who have just come on studio payrolls and expected to do big things. They have had story assign- ments. Even the stories in good shape for production. But the stumbling block came in top name castings. Their studio heads told them when they started they would get full cooperation, suitable cast- ing and directorial help. Then for months these boys were permitted to flounder around, see the people they thought they needed for a picture assigned to those of other pro- ducers, and feeling that their par- ticular chore for these people would be more advantageous than the one they were on. But there was no help from the front office, so the boys would quit, only later to find one of the so-called political or 'in' pro- ducers having their former assig'n- ment to make, and the 100% all around cast and personnel they de- sired going through the movemenfa . of its making. This method of operation is a set one here in Hollywood. Breakdown of it has been attempted, but never achieved, as it is too well set and practical for the studio heads. On the other hand the interme- diate producer goes along in his own way, turns out pictures that he knows distribution and front office will call satisfactory. For that's all he can do. The talent he knows is commandeered. The agents he does biz with are only too anxious to give him what they have, while the so-called big shot agents have not the time to bother with his small, and what they consider, 'unimportant needs.' And that fellow has no defense against this operation. He does not get financial remuneration for his services which will permit him to get around in the same social strata that the 'A' producer does. He can- not afford to cough up that 10% for agency cooperation, and just plods along contented that he is getting by and receiving screen credits for his work.