Variety (January 1954)

PICTURES Forty-eighth 'Anniversary Wednesday, January 6, I954 FOREIGNERS IB 1953 ‘NEW FACES’; TOUGHER THAN EVER TO CRASH FILMS By WHITNEY WILLIAMS Hollywood, spot for 1953, did title role in do, “The Big Heat;” Diane Foster, Bleakest period for fresh faces “Prince Valiant.” “Bad for Each Other.” In the annals of the screen was the Jay Robinson also rose during Warners: Dolores Dorn did feniyear just ended. There has been 1953, as Caligula in “The Robe” me lead opposite Randy Scott in a singular lack* of opportunity for and “Demetrius and the Gladia “The Bounty Hunter” for first role, new talent. And 1954 looms equally tors;” Casey Adams, “Destination followed with “Phantom of the AND gloomy. It’s economic. Studios have cut Gobi,” “Night People. Rue Morgue;” Merv Griffin, Metro: Customarily offers a siz This Is Love.” their contract rosters to the very able lineup of fresh upcomers but 1 Republic has Ben. Cooper, bone. Production has been drasti missed out in 1953, Here are Vit brought from Broadway legit for cally curtailed. These two facts torio Gassman, “Cry of the Hunt “Thunderbirds;” Allied Artists alorie diminish the chances of the ed,” “Sombrero,” “Rhapsody;” boasts Keith Larsen, co-starred in unknown to show his wares. Add a Elaine Stewart, after being spot "Arrow in the Dust.” Ih indie field, third factor: the decline of *B’ lighted in “The Bad and the Bean Wayne-Fellows cast Broadway’s productions which provided the tiful,” snagged femme lead in Geraldine Page opposite John a. L. Mayer By ARTHUR L, MAYER During the recent holiday sea nal brawls and incessant feudinw son, I spent some time dreaming sooner or later they will be takS« of the gifts I should like, if it were out of our hands and conducted in my power, to present to my best according to the rules and personal friend, the mo ambitions of bureaucrats and noli tidri picture ticians, totally unacquainted with Industry. Here the needs and nature of our busi are a few that ness. I think would Continuous research into nPu» £ han^ techniques and processes, shS in .1954: to that maintained by every other Mor e pic major industry, for without con. tuxes, for un stant inquiry and scientific expert less our thea ment we cannot hope to retain our tres on Main present preeminent slice of thP Street are public’s entertainment dollar. r^adv^w Rededication to the COMPO A. L. Mayer camp^ for the elimination of training ground for newcomers in “Take the High Ground!” now is Wayne in “Hondo,” and again set . . r, admission taxes for in addition to fhd nnst Tnriflv the struggling flninff “Rrierarinnn;” Nanette Fa Mielrev Sbillane. the author, for product tne prosperity ana pres their hasie iniustipe fho,, the past. Today the struggling doing “Brigadoon;” Nanette Fa Mickey; Spillane, the author, for young player must seek other bray, “The Band Wagon;” Jeff co-star role in “Ring of Fear.” avenues to be discovered. Richards, “The Big Leaguef,” The year 1954 will see reduced Unpromising as the general situ “Crest of the Wave.” Edmund Pur shooting slates. Metro With 20' to tige of HoUywood^m also soon The year 1954 will see reduced wither .on .Vine Street. v _ • ... a a 1 i.» 1 a *i_i. their basic injustice, they furnish an ever-decreasing return to the national revenue, and an ever in Unpromising as the general situ “Crest of the Wave.” Edmund Pur shooting slates. Metro with 20 to Better public relations, for with creasing burden on our harassed ation is there still have been a dom was brought from N.Y. stage 22, down from around 35; 20th-Fox out the confidence and the under boxoffices. . few individual bright lights, Au for “Julius Caesar” and “The Stu with from 12 to 16; Paramount, 16 standing of the people it serves no New fGces andnci0 taicnts in drey Hepburn blossomed' ; ih'tb '(^D;t iPrince.” 17;^ RKO, expected to be from media of information or entertain pictures for, much as we cherish stardom in her first American pic Columbia: Jack Lemmon co eight to 12; Warners, probably 20 ment can function successfully in the stars of yesterday the new ppn ture, “Roman Holiday,” and fol starred in “A Name for Herself,” or 22. On the other hand, Allied a modern world. eration on whose favor our futurP lowed that with “Sabrina Fair/’ ms first picture, co-stars again in Artists expects to hit around 33; Arbitration, for if we fail, within pravpc iho both at Paramount. “My Sister Eileen;” Jocelyn Bran Columbia, 50 to Marilyn Monroe, although on her Way up for several years, zoomed into spectacular prominence. his first picture, co-stars again in Artists expects to hit around 33; “My Sister Eileen;” Jocelyn Bran1 Columbia, 50 to 55; UI, 34. Foreigners Got Breaks Some, “unknown” foreign players were imported for star roles in T M TJ. Hollywood pictures, . thus giving I I I "I I I . |“V them an edge. Mai Zetterling was ■ J ^ m-w brought from Sweden by Dena ¥ Productions to costar with Danny . By FRI Kaye in “Knock on Wood”; Paramount picked Parisienne Nicol Future film historians will have it a lot easier Maurey to be Bing Crosby's femmet than the present generation of pix executives in Arbitration, for if we . rests, craves the reflection Of it« our own family, to settle our inter 0wn youth and high spirits in its screen lovers and heroes. a The abolition of Government g7c* • film censorship, for the freedom of O' UU1 vs speech and expression is the tradition which distinguishes our free ■ "M ft m world from totalitarian slavery, and rt I'iTTr K1V no true art can ever attain its full dlliy J. 1A stature hampered by legalistic re V strictions and prudish prohibitions. The standardization of new techniques so that the outstanding Mlnnl g’s By FRED HIFT lead in “Little Boy Lost.” Future film historians will have it a lot easier over what lenses to buy since only Bausch & Lomb product . of all companies can be an the present generation of pix executives in made them and channeled them through the equip made available to all theatres, with trying to size up the true meaning and import of the ment houses. out subjecting them to financial made them and channeled them through the equipment houses. Bella Darvi, Poland-born, was developments that rocked the business during. 1953. Story was different, howrever, on screens and burdens greater than they can bear. discovered by Darryl Zanuck in They may call it “the year of the great experiParis and flown here for . top .role ment,” adding regretfullythat it just didn’t pan out. in “Hell and High Water,” and Or they may put it down in their books in bold letnow is in “The Egyptian.” Lau ters as a significant turning point, when Hollywood rence Harvey, London actor, makes recognized the folly of technical stagnation and, his American screen bow in War roused by crisis, discovered new and exciting hoririers’ “The Talisman,” and Lud zons in the presentation of its pix. milla Tcherina was summoned. Whatever the final verdict, there Is no question “The Talisman Tcherina was was summoned. from Paris by UI for femme star in that 1953 will stand out as one of the landmarks in “Sign of the Pagan.” the fortunes of the industry, a year when 3-D proved Of these, only Mile. Maurey has how fickle the public really is, and Cinemascope thus far been glimpsed by the’ pub? became a household word of progress even before, lie. the other films being either anyone had witnessed 3 demonstration of the anastill in the editing or production morphic widescreen process. stage. Carlos Thompson belongs to If Hollywood failed to go all out for CinemaScope the foreign contingent, too, an im —even though exhibs should have 65 CinemaScopers port from Brazil, who made his coming their way during 1954 — it did nevertheless Hollvwood film debut in “Fort Al switch to wider aspect ratios. A lively controversy giers.” then was cast opposite Lana developed over the comparative merits of stereoTurner in “Flame and the Flesh” Phonic sound, and with Cinerama still looming big and now is one of the tops in on the scene, something new and simpler— Magna studio's “Valley of the Kings.” Theatre Corp.’s Todd-AO widescreen system— exParamount leads with the num cited the trade with a promise of great new attracber of promising ■ newcomers, t tion— via the filmization of theRodgers & Hammerstarting with Miss Hepburn. List . musical, “Oklahoma!” also includes Rosemary Clooney, I The “revolution” in Hollywood, representing the who screened-bowed in “The Stars i first. extensive change in the production-distributionAre Singing ” then “Here Com° I exhibition pattern since the advent of sound, affected the Girls.” ' “Red ’Garters” and | every corner of the business. It brought about “White Christmas”; Pat Crowley, feverish activity and a combination of uneasiness “Forever Fe m a 1 e.” “Garters.” and triumph. Not since the late ’20s had there been “Money from Home”; Audrey Dal! such a hubbub of speculation, pronunciamentos and ton, “Girls of Pleasure Island/’ ! predictions. And not for many years was the indus“Casanova’s Big Night,” toppers try as united in the fervent belief that, come what here. may, something new, stronger and better would Others are Mary Murphy, loaned emerge. out for “Main Street to Broad 1 : ’Twas Fv#>r Thus ' way” and on loanout ever since; — . r tnu8 Joan Taylor, “The Savage,” first, Perhaps the most worried man in 1953 was the then loaned to Schenck-Koch for exhibitor. Where the studios took risks, he not only “War Paint”; Mile. Maurey; Guy shared them, but was faced with considerable investMitchell, “Those Redheads from ment to implement the changes which, as he was Seattle”; Brian Keith, “Alaska told, would save his theatre, and insure the future Seas”; Joanne Gilbert, Kathryn for the entire business in. the face of rising compeGrandstaff and Marla English. tition from television and other factors. . UI has a fairly sizable lineup but Theatre ops, traditionally on the cautious side, nothing compared to former years, were enthusiastic over strong grosses rolled up by nor as outstanding. Lori Nelson 20th-Fox’s CinemaScope initialler, “The Robe,” came through, in “All-American” which the company treated with a merchandising and “Tumbleweed”; Kathleen reverence ordinarily accorded a piece of fine art. Hughes, “It Came from Outer But exhibs didn’t care for the strings that 20th Space,” “The Glass Web”; Abbe attached to their prize-baby — CinemaScope. They Lane, “Wings of the Hawk,” “Ride were divided over the value of stereo sound. And Clear of Diablo.” they shouted in protest as Hollywood, reacting to Mamie Van Doren, UI’s own the economics of a new medium, began to drastically . TLTa ri 1 vn TVf “ A 1 !_ A rr\ n pi r* ^ *-» J Cllf. Dm (\ 1 1 ft i rt rt crlrorlc sound. According to 20th, which insisted.it was anx A wide expansion of theatre teleious to safeguard the quality of CinemaScope pro vision together with the granting jection, none of its films could be booked by a by the Federal Communications house that didn’t have one of the two approved Commission of theatre TV chanscreens (Miracle Mirror or Astrolite). Furthermore* nels and licenses for subscription exhibs either had to equip for multi-channel sound television, from which, special or go wdt.hout 20th’s product since the* company re events, will either be permanently fused to make available its pix with single-track channeled into American theatres optical sound. ' or into American homes. F : Exhibs’ Pressure Wins ! ■ -Av!*!”?!® ?xMbitor ow’itatioii, — — — — — = — — — so that theatre owners, now more By year’s end, prodded by the combined pressure than ever before confronted by of exhibs and screen manufacturers, 20th gave way. similar problems, can overcome Declaring that it had 1,800 of the country’s large these , problems by acting and theatres already equipped with its <widescreens, the speaking as a unit on every fightdistrib said it would waive screen restrictions for ing front from Film Row to Con“small or narrow”, houses. This, in effect, amounted necticut Avenue, to a capitulation since it was thought unlikely that Increased support by the indus* many. additional situations would take the, special try of the Variety Club Will Rogers 20th screens which are more expensive. : Memorial Hospital — for. what avails As. for sound, 20th agreed to a series of tests on our wealth and our power if we that issue. The company said that, once it had had fail to use them generously in be* a chance to evaluate the Results, it would reexamine half of those in our own ranks who its position re directional sound. Exhibs maintain stand in dire need of help and lovthat its too costly an item, particularly in the ing care smaller situations, and that the effects do not jus tify the outlay. To which 20th replies that it is insisting on sound for the benefit of the theatres ANOTHER WARNING rather than its own since four-track sound materially ■ — ^ adds to the enjoyment of widescreen productions. Eye— Infection Danger In Theatres Aspect ratios, which changed with confusing ra Re-Using 3-D Specs pidity earlier in The year, settled down gradually, with studios leaving projection choice up to exhibs, Philadelphia. , *«-»“ °£ 3-p ?rs rrr able to take their pick from that ratio down. In the Rattan ToJrena of the PeL$ early stages of the wtdescreen ‘'revolution,” many va„i^ AssoSon for^ the B*?nd theatres would widescreen features made in the vania ASS0Ciatl0n lor ine conventional ratio. The results were superficially Dr Torrens, who .nets as conimpressive, providing one didn’t mind seeing per sultant for the association’s Preformers with half their heads cut off vention of Blindness Department, The rediscovery of the widescreen— the industry asSailed the practice of “some thehas been playing around with it almost from its in atre owners and managers,” who ception and has known about Prof. Henri Chretien’s rewUSe the 3_D glasses. “Too many CinemaScope anamorphic lens for almost a quarter comn1unicable eye diseases such as of a century— has brought, about profound changes oonjdnctivitis or pink eye can be not so much in the actual presentation of films as in trartsmitted m this manner, u r. the thinking of the entire business. The air is per Torrens declared. . vaded by an exciting sense of change and improve Dr Torrens emphasized that he ment. No one wants to agree on actual standards was n°L against the use of the since no one wants to freeze progress. Inventors are glasses. “What we are going to still popping out of the woodwork and, hardpressed eliminate is the placing of a reas it is for something new to catch the. public’s fancy ceptacle at the theatre exit so that the industry is happy to lend them an ear with costs Patrons can leave their glasses in ANOTHER WARNING Marilyn Monroe, “All-American,” cut production skeds. loaned to RKO for “Susan Slept Most worried and concerned of all were the small Here;”. Marcia Henderson starred theatres which felt that not only were, they being' in “Back to God’s Country,” asked to shoulder an unreasonably high equipment “Web,” to .Metro for “All I De bill via screens, sound and lenses, but also that some sire;” Barbara Rush, “Outer °f the. majors were implementing a long-feared Space,” "Taza, Son of Chochisd;” streamlining policy, i.e., a policy of basing their cxSuzan Ball, “East of Sumatra,” pectntions primarily on the limited number of top“City Beneath the Sea;” Gregg ..grossing situations around the country. Palmer, “All-American;” .Buddy 1 ^ — 5—. Hackett, “Walking My Baby Back i— Mimiras Dynamic Job / Home ” “Fireman Save My Chikh” Kingpin of all widescreen developments during A^mf‘ Win*s of Ihe.llawk,” the year just. past was 20th and its pi-esident, H taenr>n^’CatUle fl°m th<S B ack Pi Skouras. Dynamje, imaginative and perhaps , a •Lagoon. little ruthless in his flnfpi’miriaiinn in htm/, u „ Home “Fireman Save My Child.;” Kingpin of all widescreen developments during Win*s of the. Hawk.” the year just.past was 20th and its president, H taennn^’031010 fl°m th<S B ack Pi Skouras. Dynamje, imaginative and perhaps , a — oS ‘f aar i!fUo ruthless in his determination to hypo the b o 20th-Fox: Apart from Marilyn, Skouras pioneered CinemaScope with a singleM^NaJ??ara’ loaned for nnndcdness that roused the rest of the industry into The Mon Is Blue, attracted at various degrees of admiration and concern. V tention, followed with “We Be The comoanv sunk millionc l'nfn infarhafinnnl iawuo uteti-w ui aumirauon ana concern. The company sunk millions into international com. to Love,” Robert Wagner reZe fWsSeVhrea.lyearSaflna“y 'i , In retu™‘ » ™ down a Photoplav mae? No Cl?pp.?d ln*,t.o t',e ™nditions under which its CinemaScopers i notoplay mags No. 1 popularity could be shown. Exhibs didn’t have much choice a secondard consideration. these . catchalls for later use of " ‘ yr. r~r — ^ = — -tt other customers.” Limmicks Not Enough | And' yet, the reali$ts are ready with a word of lyarning. Gadgets, they say, are not enough. They cite 3-D as an example. Stcrcopix came on big at the start of the year, with “Bwana Devil,” followed by the top-grossing “House of Wax” from XX.IVA uic icai^is are reaay with a word of rpn a . ltIV i. lyarning. Gadgets, they say, are not enough. They . 1UA DlfeCtOYS ffleCl cite 3-D as an example. Stcrcopix came on big at the start of the year, with “Bwana Devi? ” fof Mid-winter meeting of the cxeclowed by the top-grossing “House of Wax”’ from utive cortimittce arid the board or Warners. Then the public scorned to tire of the in f rectors of Theatre .Owners of consequential 3-D efforts rushed out by Hollvwood Ameri(?a will be held in WaslungIhousands of theatres that had equipped themselves ^on’ *Ian* 31 to Feb. 2. for depth pix, bemoaned the fact that their lifespan Scheduled for airing , are the seemed to be so short. Viewer sales, which had most recent developments in arskyrocketed, dropped. bitration, the 16m antitrust suit, ■ As 1953 came to an end, 3-D seemed to get a new subscription TV, the question of lease on life with a new crop of depthies, made with compulsory use of stereophonic more technical and artistic care. sound for CinemaScope pix, film In any case, the industry made up its mind to one rentals, and the Federal 209c ad” thing.: The public wants and welcomes anything missions tax, Jib'Ll11 m°rion Pitres.. Basically, however, it de* A. Julian Brylawski, TOA v.p.» ands quality ofi content. And that is a truth which is chairman of the host committee. has had to face f?om the first day it Alfred Starr, exec committee and ranked a camera arid went into the business of board of directors topper, will Pre' providing entertainment for the masses. side at the sessidns.