Variety (March 1950)

'VARIETY'S*' LONDON OPPICi $ it. Martin'! Pt«c«i Trafalfir Square Paris, March 7. ;+■ Paris legiters are singing the blues. Political and economic upheaval isn’t helping show business, despite the fact that at bad times in history the public usually tries to find relief in shows. A good, gauge of French Showbiz are Sunday grosses, when most houses play matinee and evening, resulting ; in Su h d ay grosses amounting to. 30% of the Week, Saturday can be counted another 15%, which with one day a week compulsory . . closing ’ amounts , to 45% for Saturday /and Sunday takings. On Sunday, Jan. 8, always a big dip following the holidays, Paris legit; grosses had sunk to $54,200. They recouped a bit Sunday, Jan. 22, with a $60,000 total. But Feb. 19 dipped again to $56,400/. For the full week ending Sunday, Feb. ,26, total legit grosses amounted to $207,000 net, taxes deducted. There are a few exceptions to the general slump; The most striking one is “Petite Hutte” at the Nouveautes, where the Andre Roussin play in its third year and with substitutes for the original cast is still ringing down a capacity $700 nightly. Contrary to custom, the F olies Bergere, with an average $1,500 nightly take, Or the Casino de Paris, with $1,000 nightly, aren’t the top grossers by a long sight. At the Chatelet, Maurice Lehmann’s excellent presentation of Irving Berlin’s “Annie du Fair West,” starring a find. Li# Fayol, nets $2;400 per performance. At the Mogador, Henri Varna’s new show, “Danseuse aux Etoiles,” with another newcomer, Marta Labar, starring, takes $1,900. This is slightly topped at the Empire by the draw of Luis Mariano, who gets $2,000 for Francis Lopez’s “Belle de Cadix” revival. At the Theatre de Paris, the Jan Kiepura-Marta Eggerth team’s take with a controversial adaptation of “Princess Czardas” averages $1,500 per performance. , Straight plays doing well are the Antoine’s revival of Yves Mirande’s “Petit Cafe,” with a nightly $800* and Colette’s “Cheri” at the Madeleine with $850, At the Sarah Bernhardt, the draw of Edwige Feuillere in “Camille” gets $1,000, and Elvire Pppesco in the new Andre Roussin play at the BoUffes Parisiehs, “Nina,” also draws $ 1 ,000. At the Marigny, Where the ■show changes frequently, Feydau’s revival of “Occupe toi d’Amelie” fetches $800, but the revival of the old meller “Le Bossu” (“The Hunchback”) pulls a hefty $1,200. Riviera Film Producers’ Get-Together Is Little More Than Tourist Stunt Paris, March 7. The Riviera junket of European picture producers groups, which took place in Cannes so as to permit using the theatre built there for festivals, ended without achieving much more than the tourist stunt it was primarily intended to be, and deciding to meet again every year. Austria* Belgium; Denmark, Egypt, France, Germany, Spain, Great Britain, Greece, Italy, Portugal, Switzerland and Sweden were represented. U. S. was not actively represented, Gene Van Dee of Motion Picture Assn* of America acting merely as an observer and to assure the European members of U. S, goodwill in their efforts to solve their problems; About 20 producers and $0 newspapermen were present, besides lawyer Jean Rapoport, who acted as adviser for drafting the motions. Also: a few French starlets. i’ Wins Rome Rome, March 14, A “Prize of Rome” award totaling $1 ,500 was . given to Roberto Rossellini Sunday ( 12 ) for his film “Stromboli; ” A new award of a foundation headed by Rome’s mayor Salvatore Rebecchiiii, the Prize of Rome also meted out similar amounts to Giuseppe Ungaretti for poetry and Ugo Betti for drama* • .Vittorio de Sica received honorable mention for his film, “The Bicycle Thief.” Neither Rossellini nor pic’s star, Ingrid Bergman, were on hand for the ceremonies. :. Mexico City, March 7. Forced exhibition of Mexican pix in Mexico; that has long been looming, seems to have been definitely killed. Members of the National Assn, of Exhibitors, after a long conference here with Jesus Castillo Lopez, director: general of the Cinematographic Supervision Board* decided to abandon the idea. Announcement gave no explanation of the decision. But trade talk is that with too many cinemas for a too small public, and only the strongest pix yielding in the black, this isn’t the time to force Mexican pix’s exhibition. There’s been a a move for some time to force all cinemas in Mexico to devote at least 26 weeks a year to Mexican pix. ‘GILLIE’ London, March 14. /‘Home at Seven,” new mystery play by R. C. Sherriff, presented by Reandco* Ltd., and H. M. Ternnent, Ltd.,, at the Wyndham’s theatre last Tuesday (7), is fine. Ralph Richardswn is brilliant in the role of a quiet suburban bank official obsessed, with the belief that he committed murder during a spell of amnesia. Marian Spencer heads an excellent supporting cast as the devoted wife, and director Murray Macdonal exploits ,to the full the taleijts of author and players. Enthusiastic reception by firstnighters and press makes show look a hit. Janies Bridie’s latest comedy, “Mr. Gillie;” made its West End debut at the Garrick theatre Thursday (9), following a Glasgow tryout. Play is presented by Stanley French; Ltd., and directed by Alastair Sim, who scored in the leading role of an altruistic schoolmaster undismayed by a series of failures in work, prospects and sponsorship of budding genius. Megs Jenkins shares honors with him as his placid wife and George Cole clicks as an emancipated pitboy who takes the wrong turning to fame. Story provides food for thought and should attract specialized audiences, but its universal appeal is problematical, being localized in theme and treatment. Drawing power of* author and star’s names are greatest assets for a profitable run. Aldo Fabrai Only Pro In Rossellini ‘Francis’ Rome, March 7. Aldo Fabrizi’s next film is “Una di Quelle” ( “One of Those” ) . Universalis will produce, with . D* Blasetti directing. He will also play the part of Ferruccio, a farmer, in Jtlie Roberto Rossellini production of “$t. Francis* of Assisi.” He will be the only actor in it. Others in the cast are priests of the Catholic church. By MAXIME DE BEIX Paris, March 14. An astronomical phenomenon has taken place in the French musical comedy sky. What astronomers call a1 nova* meaning a star of first magnitude, where there was nothing hut darkness before, has suddenly been discovered. The astronomer is producer Maurice Lehmann, of the Chatelet theatre, and the star is Lily Fayol, currently doing an Ethel Merman in the title role of “Annie Get Your Gun,” retitled “Annie du Far-West” for French consumption. She was born in the provincial city of Grenoble , and started, learning classical dancing when she was five years old. At 15,, under her real name of Odette Fayol, she was considered a good dancer and. five years later; With a partner, created a fancy adagio; act which under the name of “Baby & Da^ vis,” toured Europe, including Poland, Czechoslovakia and Russia, to land finally in Henri Varna’s Casino de Paris revue titled ‘•Caresses de Femmes.” The act was going to play South America when the war caused it to be stuck for two years in African Senegal. There, to improve the act, Miss Fayol added a singing turn and for the first time, in 1943, in Tunis, appeared as a fullfledged chantoosey. However, she still felt a hankering for dancing and if she had not been eiicour-. aged by such stars as Maurice Chevalier and Damia, would have given up singing to return to terping. However, she came back to France and casting off the “Baby” moniker, played the Cintra at Nice Under the name of Lily Fayol. She then sang in Paris and Belgium with such success that she was booked in the Etoile theatre, Paris, and the Casino de Paris, after which it was a cinch for her to play the ABC (With two return engagements) and mbke a tour in Portugal, Canada, Belgium, Switzerland and North. Africa, finally landing as “Annie” at the Chatelet. The strange* thing is that Lehmann had first offered her the part which she had turned down because, not knowing the play, she was afraid of not making the grade. Thv Compagnons de la Chanson, who had seen the play in New York, told her about it, and what a part it would be for her, but “I just refused the offer,” said she. “Don’t be a sap,” was the answer; “No, it’s all over,” she persisted. But the next day she got another call advising her that Lehmann had been specially to the Soustons Arenas where she was playing a gala to catch her show and insisted on getting her. She surrendered. British Seeking Law; To Compel Foreign Pix Bub London, March 7. , , .. . .... Introduction of legislation which *ipnr.i>lnf discussed the mci. would compel distributors to have dence of TV on pix. Also dis foreign nix dubbed in Britain ie cussed was an attempt to promote -■ P " Buta,n 1S international rather than national censorship. > being recommended to the Board of Trade. Similar legislation m , [exists in a number of continental , Two French pix were previewed, countries. Jean Cocteau’s “Orphee,” report j. The scheme, which is being but edly arty but non-commercial, and forward by one of the major dubMarcel Carne’s “Marie du Port,” I bing companies in Britain, carries his first comeback in four years, ! with it a suggestion that such films , reportedly fair for local consump should be neutral for quota in ! tion but not for U ° ----- ■ 4 v Power Lack Slowing Foreign Pix in India • & Madras; March 7. Due to poor rainfall in thfe south.: electricity has been rationed in . many areas. Theatres are allowed to have Only two shows a. day. Matinee shows on weekends have bee.n tabooed. Main sufferers are foreign films which normally play for morning and matinee shows on weekends in such stations. Loss, however, is compensated by the fact that the continued paucity of Indian products compels picture houses to show foreign films for regular shows even in the interior. Turks to Tuni Out 15 Pix IN ’50; U.S, Leads Imports Washington, March 14. Turkish producers are expected to turn Out about 15 films this year, U. S. Dept; of Commerce reports. During the last four months of 1949, Istanbul, capital of the country, saw 98 new pix, of which 10 were homemade. Large bulk of the hew features, 70, came from the U S. " v': ' The Turkish group was in second place arid the seven British films shown got that country third honors. Ten of the foreign films Were dubbed in the Turkish language. Big ; question facing the Turkish studios is to obtain enough foreign exchange to pay for imported rawstock* Copenhagen, March 7. The three original copyright owners of the Danish tango; “Jealousy,” Wilhelm Hansen Music Fprlag, Warny’s Forlag and the com* poser Jacob; Gad®, will in a short time bring a Case « against former German (now French) publisher Charles Brull, in the French courts, demanding an accounting for the shfiet music license for all the world outside Scandinavia since 1930. They charge; that they have received neither statements nor money during the last 20 yeafs. For the U. S. alone they believe the amount is over $50,000. “Jealousy” was written in 1926. Jacob Gade was then leader of the orchestra at the big Paladsteatret cinema in Copenhagen. As a sort of theme song for the Doug Fairbanks silent pic, “The Mark of Zorro,” he composed the tune. It was published by Gade and Warny, the latter, another famous Danish bandleader at that time. After the tune was published ’and had become a big hit in Denmark, Wilhelm Hansen, through a non-ex* pired contract between Hansen and Gade, became part owner of the copyright. Later, Gade sold his part of the Gade-Warny publishing firm, which continued under Warny’s management. In 1928 Charles Brull. Who had heard the tango when he visited Copenhagen on a business trip from Berlin, got the right to sell the orchestra and sheet music rights on a percentage basis for all the world outside Scandinavia. But, Warny asserts, since 1930-31 the Danish copyright owners have received no" accounts at all from Brull. The tune was an international hit at the start of the thirties, but became a real world hit during the War, both in U. S. and Great Britain. AUSS1E-U.S. T1EUP IN KANGAROO KID’ FILM Sydney, March 7. Dorothy Malone, Veda Borg; jack O ’Mahoney and Douglas Dumbrille planed in to play in “The Kangaroo Kid” for Embassy Productions. Director Lesley Selaiider and cameraman Russ Harlan came by an earlier plane to set the details. “Kid” is being jointly produced by Torn McCreadie, head of Embassy, and Howard Brown, of Hollywood. Pic will be shot in the Bathurst zone, one of the richest ranchlands of Aussie. Embassy, has. made two prior pix* “Always Another Dawn” and “Into the Straight,” strictly for home payees* Anticipated that “Kid” will be made for U. S . dating 1 vi a the Brown interests. Buenos Aires, March 14; Film interests In Argentina, who have been hoping from month to month that some agreement would be reached between U. s. pix distributors and the Argentine government/ to permit renewal of imports of U. S. material, seem to be no nearer realization of their hopes than they were in March last year, when all imports were suspended. ■ ' U. % distributors themselves are still hopeful that* eventually, some agreement will be arrived at, although it is plain that everything hangs on what kind of an economic deal can be worked out in the talks due to start in Washington soon, Argentine Minister of the Treas* iiary Ramon A. Cereijo will be the representative in those tfilks-r-and When it comes down-' to the pix problem,; he is well acquainted with it, as the U. S. distributors have been dickering with him for exactly a year. Argentine producers will try and stall any arrangement, as they are cashing in heavily in the present impasse. What they would like to see is U. S; pix interests; being induced to come and make films in Argentina. This Would allow them to pick up some Yankee knowhow* and also focus the attention of other markets on Argentine pictures. A sample of what producers desire is contained in cabled news from Paris that Dr. Enrique Telemaco Susini, onetime legit impresario and musicologist, has inked a deal with* the General. Cinema Union of France, for co-production of “A” pix, in both Argeriw tina and France, with Franco-Argentine talent Intermingled. The first picture is to he rolled in Argentina and also in Peru. Of course, permits for U. S. pix imports could be available immediately, if the U. S. Motion. Picture'Producers Assn, were willing to accept the Argentine government’s yen to impose a quota. This is generally believed to have been fixed at 200 pix a year* less than half the average requireirient of the last five years. U. S. producers have steadfastly resisted quotas on principle; insisting on free importation, or none at all* the su resea ter circuit. S. outside of view of the money that would be ! 1 expended on labor costs in Britain* Other Foreign On Paffe.^0 Eugene Van Dee, assistant to . Gerald Mayer, Continental rep for I Motion Picture Assn, of America, ! arrived in New York over the [weekend on personal .' business, <He’lI be in the U. S. about a week before returning to his headquarters in Paris. Alltime Record; U.S. Pix Not Showing Up So Well Buenos Aires, March 14. The Argentine-made comedy pix “Avivato” (Interamericana) , which broke all boxoffice records last year, at last wound up its firstrun, after six months between the Gran Rex and Gran Palace theatres, grossing $160,000 (U. S.) in 25 out of 26 weeks. The picture was immediately reissued in 54 nabe theatres, at an unusually high admission scale of around 40c (U. S,), and grossed over $13,000 in its first day. This is a higher record than achieved previously by any picture in Argentina, even including ’Belinda.” “Almafuerte” (Arg-Sono-Film). voted the pest Argentine picture of. 1949. is now in its twelfth week at the Ambassador, and grossed $67,340 (U. S.) in nine weeks. “Danza de Fuego” (Emelco), runnerup for the “best picture” orchids, ran five weeks at the Gran Rex, but only two at the Broadway. The picture was reissued immediately at the Luxor. “The Virginian” (Par) was released at the Gran Rex, following “Danza de Fuego,” but lasted only two weeks, with a gross of $1 4,000 (U* S.). Another Argentine-made picture, “Nacha Regules” < Sonp ), followed at the Gran Rex, and is expected to set up another, record for a locally-made film, as it teams Zully Moreno arid Arturo de Cordova once again, and is a terrific tear-jerker* “Filomena Marturano” fLunrii^ ton) held on for five weeks at the Ocean, grossing $35,325 : ( U. S.) , M’hile “Los Perez Garcia” ran three weeks at the Normandie and grossed $12,140. The few available North American pix have not shown up any. too well, “Give My Regards to Broadway” (20th) lasted only one week at the Ocean, and has been followed by a British release, “The October Man” (EL). Another\British picture, the “Adventures of Jeannie,” has been released this week at the Broadway,