Variety (December 1951)

22 PICTURES WednctUy, Pewalkr 26, 1951 RKO and Loew s Homeoffice publicists of RKO Theatres, Loew’s Theatres and Loew’s International, affiliated with Local 230, Sign, Pictorial and Dis- play Union; AFL, have decided to hold joint pact talks With company exeqs, according to Joe Abels, unions biz rep. Talks get under Way today (Wed.) in N. Y. Both Loew’s groups entered the Local 230 fold last Wednesday, (19) as^a'.result of an election held un- der. the supervision, of the National Labor Relations Board. Running unopposed on the ballot. Local 230 obtained a 12-5 vote at Loew’s The- atres and. a 2-0 at the international office. Only choice open to the publicists • was Local 230 or no ur'on. Unit at RKO Theatres had se- lected Local 230 as Its. bargaining agent several weeks ago, but had delayed the opening of confabs with the management pending out- come of the elections at Loew’s. Local 230 also represents pub-ad staffers at RKO Pictures, having concluded a pact with the company about a month ago. Meanwhile, a holiday lull has set s in in talks between management and publicists represented by Dis- trict 65, Distributive, Processing and Professional Workers of Amer- ica! District 65 speaks for flacks at Warner: Bros., Universal, United Artists, 20th-Fox and Columbia. Progress in these negotiations has. been slow with an indication of the' outcome still in doubt. , Both union- ites and management have adopted a policy of silence,, with both re- fusing to comment on the status of the negotiations, H-63, International Alliance of Theatrical Stage Employees, which reps pub-ad staffers at Paramount, has not yet set a. date to begin ne- gotiations with company officials. New St. Louis Pic Co. St. Louis, Dec, 25. The first large-scale commercial film studio, Condor Films, Inc!, hhs been launched in the downtown area and started production of com- mercial, industrial, training and TV films, both 16m and 35m. Officers are Arthur E/ Wright, prez; Bradford Whitney, v.p., and Gus V. Kindervater, exec. v.p. Berger Admonishes Mgrs. Not to Lose Heart Minneapolis, Dec. 25, Two of (he territory’s pioneer and most successful exhibitors, Bennie Berger and W. R. Frank, have no intention of disposing of any of their theatre properties at a time when depressed gross and TV fears find many theatreowners panic-stricken. They say they’re calm and confident. They scoff at the idea that film exhibition might have, hit a reef. After* 22 years as an exhibitor and going through many industry crises, Berger asserted to his house managers and executives at their shifti-annual convention here that he never has given a thought to tossing in the sponge. He’s sure exhibition will survive*any diffi- culties with an improvement in economic conditions and increased eniertaftm $£ purchasing power, Berger admonished managers of his 10 theatres not to lose heart in the face of present calamity hbwling. fxecvlfve VP a# COMPO Arthur L Mayer weeld award Scallions ‘Oscars 9 to Industry Knockers an lnr«r«ftriaa editorial foatnro In ■ f.t 1 ' 46th Anniversary Number OUT NEXT WEEK Dallas Bouse Gutted by Fire Dallas, Dec. 25. Haskell Theatre here was gutted by fire, that broke out only 14 minutes after the theatre had closed on Saturday night. Fire officials announced the house is a total loss. Cause of blaze and amount of damage has not been determined. Spain Compromise Continued from page 7 be given a specific allotment of im- port licenses next year. First point was presented to Ma- drid officials principally atrthe re- quest of 20th-Fox. It . has made financial advances to Spanish pro- ducers, for film-making. These are against the import .licenses that the producers will get when the pix are completed and which they have promised to Fox. 20th’s stand is that licenses so obtained should be allotted without reference to the 60 that are to be divvied among American majors Under the new pact. Spain orig- inally wanted to count any such licenses as part of the 60. Second point in dispute involves 40 permits allotted for films owned by producers, who do not maintain at least five offices in Spain. That takes in Mono, UA and Rep, as Well as indie producers. They want to know specifically how many per- mits they’ll receiver Since the entire agreement, which was negotiated in Madrid by MPAA international director John G. McCarthy last summer, cannot become operative unless okayed by Society of independent Motion Pic- ture Producers, as well as MPAA, latter is attempting to get Madrid to satisfy the demands. Spanish officials have shown no Inclination to date to set a specific indie quota, but Healy is contin- uing negotiations in Madrids Chicago. While several of chief officefe o&| the Variety Club of Illinois were] captured by vet showmen, major- ity of new officers are Upcoming theatre folks, especially on the new directorate. Chief .Barker ia Joe ..Berensori replacing Irving Mack;. Arthur Manheimer is first assistant; Sam Leyinsohn, second assistant; Ted Reisch, doughguy, and Bruce Trim, property master; Irving Mack, International can- vasman, and Jack Rose, Interna- tional rep. New directors are Ed- ward BrUnell, Joe Berenson, Sam Levinsohn, Bruce Trinz, Mike Stern, Ted Reisch, Leo Miller, Ar- thur Manheimer, Clarence Keiri, Erwin Joseph and Richard Graff. This Variety Club contributed $140,000 to La Rabida Heart Sani- tarium over the last eight years. Miller Heads Buff * Buffalo. David Miller, Universal ex- change . manager here, elected Chief Barker of Variety Club of Buffalo for 1952. Other officers in- clude Max Yellen, first assistant barker; Robert C. Hayman, sec- ond assistant; Arthur Krolick, doughguy, and William E. J. Mar- tin, property master. Additional di< rectors are* Wally J. Gluck, Billy Keaton, Charles B. Kosco, Vincent R. McFaul, Albert F, Ryde and Constantine J. Basil. h Feb. Operation As a result of the favorable ini- tial Interest, pub-ad school contem- plated by the Associated Motion Picture Advertisers may begin op- eration as early as February; Hairy McWilliams, AMPA prexy, said this week that he had already been approached by several poten- tial students. Problem now, Mc- Williams points out, is to arrange for financing, establish a curricu- lum, line up lecturers, and arrange for a meeting place. McWilliams believes the financ- ing is a minor problem and that it can be solved by the* charging of a nominal tuition’ fee Which would be paid either by the student or his employer. McWilliams, with aid of his AMPA colleagues, is presently engaged in setting up a curriculum which would cover every phase of film publicity and advertising. Proposed topics inf elude function and purpose of vari- ous departments, advertising, local advertising, operations and plan- ning, mechanical production, press publications, special publications, exploitation, tie-ups, helping the exhijbitor and general public re lations.. Various experts from Within . the industry wquld serve as guest lecturers. Use of company screening rooms as lecture halls is being weighed by the AMPA school committee. Purpose‘of the schooL according to McWilliams, would be twofold: to train future pub-ad staffers and tp acquaint fiimltes with the scope and work of the promotional de- partments. Batschelet New Denver Barker Denver. Variety Tent 37 here elected Ralph Batschelet, Paramount the- atre manager, chief barker for 1952: Wm. Hastings is first as- sistant barker; Fred Brown, second assistant; Sam Feinsteln, dough- guy; Victor Love, property master; and Jim Micheletti, Robert Gar- land, Robert Selig, H. M. McLaren, Ray Davis and Harry Green, can- vasmen. Hall Baetz, retiring chief barker, will represent the tent as International canvasman. Philly Mayor at Variety: Dinner *. Philadelphia. Annual dinner of the variety Club of Philadelphia, Tent 13, to be held at the Hotel Bellevue Stratford Jan. 7 Will be marked by first public appearance of Mayor- elect Joseph S. Clark. He is sched- uled to be guest speaker and is to be. inaugurated as the city’s chief executive the 'Same day. Affair also will jointly honor Ted Schlanger, Warner Theatres' zone manager here, as retiring Chief Barker, and Victor H. Blanc, newly elected Chief Barker. Former U. S. senator Francis H. Myers will toast- master the event. UA, MCA Deal Continued from pace n I 5=S the distrib’s progress plan. When Krim, Benjamin and Matty Fox took oyer, the job immediately on hand was to iron out all wrinkles in the operation and stem the tide Of losses. They’ve accomplished this film Reviews Contlnnod from w I Sinmr . in general on a Soviet collective farm in the Ukraine. Those inter- ested in a superficial peek behind the Iron Curtain form a potential market for the import. The propaganda line is only lightly accented and the frequent folk songs in the footage provide a sharp contrast to stodgier Soviet film fare. Nevertheless, the pic- ture unreels slowly and activities on the farm have a stagey, artificial quality. This obviously will dis- courage word 4f mouth. Amid a welter of songs, Marina Bebutova and N; Arkhipova engage in light- hearted rivalry to see who can raise the most livestock and grain on their collective farm. - * There aria scenes of waving grain, grazing, cattle and other rus- tic views in which the predominant- ly femme cast goes about its chores with a gusto that’s almost too en- thusiastic to be genuine. Script even brings in * dash of romantic interest via bookkeeper M. Kuz- netsov, who finds Miss Arkhipova easy to look at. ’ Performances of the players, seem to be restrained' by Boris Bar- net’s heavy-handed - direction! But Miss Arkhipova manages to turn in a few bright moments and Kuz- netsov is generally likable. Magi- color lensing of A. Mishurin is fair. Gilb , Never Take No for An Answer (BRITISH) Paul Galileo story is well done toarjerker but with limited V, S. appeal. London, Dec. 18. IFD release of Anthony Havelock-Allan S roductlon. Feature* Vittorio Manuahta. lirected by Maurice Cloche, Ralph Smart; Screenplay, Paul A Pauline Galileo; cam- era, Otto HeUer; editor: Peter Graham Scott, Sydney flayers; music, Nino Rota. At Rialto, London. Running time, sa MINS. ^ Peppino .Vlttflrio Mhnunta Father Damico ............. Denis O'Dea Strotti Guido Celano Father Superior ..........Nerlo Bemardi Monk .................... Harry Weedon Old Workman ........Edward Hitchcock Doctor Bartolo..... Frank Coulson Sj$. of Carabiniere... .Eliso della Vedova performance as the kindly priest. The other character*, all 'well han- dled, have little to do but supply a background for the central fig- ure. Robert Adamlna acquits him- self favorably as Another urchin and Nerio Bemardi IS duly benign and stern as the Father Superior. Clem. Mr. Denning Drives North (BRITISH) John Mills, Phyllis Calvert* - Sam Wanamsker In unconvlnc- . t lug.murder-thriller; thin U.S. f entry... ' ' \ London, Dec. 18. British Lion release of London Films production. Stars John Mills, Phyllia Cal- vert; feature* Sam Wanamaker. Directed by Anthony Kimmins. Screenplay, : Aleo Coppel; camera, John Wilcox; editor, G. Turney-Smith; music, Benjamin FrankeL At Leicester Square Theatre, London. Dec. 18, *51. Running time, 93MINS, Tom Deiuiihg.,,...... John Mills Kay. Denning........., ....Phyllis Calvert Li z De nnlq g. .. • «>......... -Eileen . Moors Chick EddoWes ....Sam Wanamaker Mados............ .. Herbert Lom Wright .• .Raymond Huntley Harry Stopes............ RusseU Waters Woods .............Wilfrid Hyde White Ms. .Smith i.«v •«... •.Freda .Jackson Ted Smith...............Trader Faulkner Matilda...............Sheila Shand Gibbs Inspector Dodds. Bernard Lee Charles Borelli ..........Giorgio Rigantl 'eila Mata Chemist Gulseppe Mrs. Strottt .. Clelia Matania Gianni -.Robert Adamlna Monsignor Magana.......... Ricardo Foti Father O'Brien.,......: .John Murphy Sgt. of Swiss Guards Enzo Fierraonte First Monadgnor............,. .Dlno Nardl and now are setting out after pic Releases of major calibre, such attainment. Film will be okay for This adaptation of Paul Gallico’s story will inevitably be compared with ’’The Mudlark,” dealing as it does with a small boy’s gatecrash- ing of a holy of holies. It is a sim- ply told tearjerker, set in the towns of Assissi and Rome, played by a mixture of British, Italian, Dutch, and American actors. Pic has some commendable camerawork, and is evenly and convincingly directed, with the Italian setting providing a static rather than a cooperative background. Artistically this picture is a gem, but there is very slender plot and its appeal will be limited to pa- trons of this restful kind of enter Barry Goldman Balto Barker Baltimore. Variety Club here, Tent 19, held annual election , and. named Barry Goldman as Chief Barker, with Milton Schwaber, and Fred Sapperstein as assistants. William Schnader was made property mas- ter. and Bernie Seamon, Doughboy. McKean Heads indpls. Tent Indianapolis. Claude McKean, Warner Bros, branch manager, elected Chief Barker of Indianapolis Tent. No. 10 of Variety Clubs. Other new of- ficers include Burdette Peterson, first assistant barker; Richard Lo- chry, second assistant; Barney Brager, property master;* Morris Cantor, doughguy, and Guy Han- cock, chairman of Heart Fund com- mittee. Tommy McCleaster, retir- ing chief barker', was .elected in- ternational canvassman. would .be expected from the Cary Grant, et al., package. Assortment of factors contributes to the expectation that indie pro- duction would'be given a tremen- dous boost. Importantly, financing problems would be considerably lessened if a top star already is lined up for a pic with no imme- diate cash outlay required for his services. UA, for example, anticipates that the money end Of the deal with the five performers shouldn’t be too difficult. If it’s required, the distrib will arrange for partial financing of the productions via! Walter Hel- ler & Co., Chicago investment house, with which it has a continu- ing financing tie-in. Big advantage to the stars ,1s that they’ll have a potential source 1 of income from the pix for years to come, via reissues, television, 16m and story material for makes. Part ownership of the prop- erty could also mean capital gains deals.; in place of straight salary with its plenty burdensome income tax bite. It’s regarded as a form of insurance for them, against pos- sible lean years ahead. ‘ MCA’s angle, obviously, is that the agency will have its clients on a continuing money-earning basis.. Only big hitch spotted at present is that many of Hollywood’s big “names” are under exclusive con- tract and. the major studios might , be reluctant to release them for an outside indie pie without a heavy | loanoot charge. U. S. arty houses. The diminutive central character is a little waif who has been be- friended by the U. S. troops. He is a prosperous business man living in a hut with his invaluable don- key, whose duties as a carrier keep the seven-year-old well above star- vation level. A priest keeps a friendly eye on the child and gives him tuition; A note ccompanying a food parcel' from America’ advises the boy to never take “ ” for an answer. , When his donkey falls sick, he begs to be allowed to take it into the crypt of the church, where lies the tomb of St. Francis, patron saint of animals. Authority says jio and the lad treks >to Rome to plead with the Pope,. A chase through the Vatican and the various at- tempts on the youngster’s part to achieve his purpose end in his Vic- tory when a bunch, of. flowers he sends in attached to a picture card accidently rCach His Holiness! The child’s implicit faith in the ulti- mate recovery of his pal if . hiS wishes are granted induce the: Pope to intervene, ahd church regula- tions about the ingress, of animals is overcome by an old wall being demolished in the crypt. This brings about St.. Francis’ buried treasure; for which the community has been searching. The gay impudence of Vittorio Manuta, as the orphan, is the main- stay of the picture. He can switch from laughter to tears with easy naturalness, and his appealing per- sonality will register strongly with women patrons, penis. O’Dea has the most to do of the adult cast, and gives a human, sympathetic Mr. Denning may drive north after he has committed a murder, but he leaves behind a trail of red herrings which makes this the most unconvincing and involved thriller to come from the British studios for years. The production iS ho credit to John Mills, one of Britain’s leading , stars, and cannot hope to make much of a dent in the local box offiiee. . It will help the cause of British -films if this one was considered unsuitable for export. Coupled With the. unconvincing narrative, is aiy Inane script which makes the whole thing even more implausible than It might have been. Its ragged continuity sug- gests a last-minute attempt in the cutting room to tighten up the loosely constructed yam. Briefly, the plot describes how John Mills panics when accident- ally he kills a blackmailer with whom his daughter is planning to elope. He dumps the corpse off one of the main roads to the north, re- moves all identity marks, and to confuse the issue, puts on a cheap, but distinctive ring on the dead man’s finger. Theoiy behind this is that when the corpse is discovered the ring will become a major dis- tinguishing mark and relatives and friends would be put off the trail and not identify the body; From that stage, the story be- comes incredibly ihvolved and reaches its climax in inanity dur- ing the subsequent police inquiries and the intervention of a new pros- pective son-in-law who is also an American laiwyer. The artists try very hard ffht cannot beat this flon- sense. John . Mills and Phyllis Calvert as husband and wife,’Eileen Moore as their daughter, and Sam Wana- maker, as the lawyer, deserve bet- ter opportunities. Direction by Anthony Kimmins is completely inadequate and he appears delib-. erately to have added cheap thrills Without much reason. Myro, ■ . '. ■ 0 Seal a Paris (Alone In Paris) (FRENCH) Paris, Dec. 18. Eminent* Films-Psgnol production ana release. Star* Bburvfi. Directed by Herve Bromberger. Screenplay, Alex Joflei camera; Jacques Mercanton; editor, Anj dre Gardier. • At Gaumont and. Aubert Palace, Paris. Running time, 90 MINS. Henri Bourvll Janette .'.... Magali Noel Cousin ;.. .Yvette Etievant Waiter. ........ .Camille Guerlni Bourvil, recently seen by Amer- icans in “Mr. Peek-a-Boo,’’ has to carry this film alone and is not up to bringing it off. Playing a straight role in a predictable series of mishaps,, the film runs its course without rising to any poignant heights. Its looksee at Paris may give this some ballyhoo prospects for second-run situations. , Story concerns a country couple passing through Paris on their honeymoon. Bourvil loses his bride in the subway during rush hour and the rest of the film concerns Jiis frantic search for her in a cola, disinterested Paris: . . Bourvil plays the character with- out enough coloring and relief to give him individuality. As a result the film is never credible. Direc- tion is obviotis and bludgeons home all the points. MagaU Noel is fresh and moving as the young wife who might have had a pre-honeymoon fling. Thu bit parts are stereo- typed. Mosk.