Variety (January 12, 1955)

January 12, 1955 PICTURES FILMS FOR CHILDREN ONLY New York Sound Track H “ \nastasia” screen rights have not yet been purchased, despite re- ports naming Warners. Play based on original of Marcelle Maurette lias been anglicized by Guy Bolton and is handled in States by agent Miriam Howell . . . Woman living in Berlin who claims to be the true Anastasia, daughter of Czar Nicholas II, has since given a quit-claim however the Maurette play will be produced in Britain, Germany, Sweden, Spain and Holland prior to America . . . Robert Ruark’s safari to Africa is paying off handsomely via his new Mau Mau novel, • Something of Value,” which goes to Metro for around $300,000, well above price 20th-Fox bid . . . there s considerable speculation in Manhattan as to how Metro .can handle the subject-matter, a plenty bloody and brutal war between the black and white races. Jack Palance is in N.Y. negotiating for rights to the life story of Jack Dempsey, actor seeking to produce and star in a biopic on the ex-heavy weight champion, Understood ‘‘amicable understanding” has been reached between Dempsey and his former manager. Jack Kearns, on project and deal looks good at this stage. Palance would seek a major release. He's due back in Hollywood Jan. 15 . . . Jean Simmons in from film work in England Sunday (9) and off to Hollywood the same day . . . Harriet Parsons, producer on the RKO lot, returned to the Coast over the past weekend after a week of play-going . . . John Halas and Joy Batchelor, chief animators of “Animal Farm," cartoon feature, left N.Y. over the past weekend to attend the film's premiere in London. While they may resent the “antique” connection, ten early film queens have been invited to the 11th Annual National Antiques Show at Madison Square Garden in March. The ten include Pola Negri, Theda Bara, Lois Wilson, Nita Naldi, Aileen Pringle, Clara Bow, Blanche Sweet, Dorothy Gish, Carmel Myers, and Mae Busch . . . this has bought the Harper prize novel, "Trial” by Don M. Mankiewicz. “This Is Cinerama” bowed in Tokyo Wednesday <5*. Japan is the fourth overseas country to show the new film medium . . . Cinema 16 showing "Colette,” Edinburgh Film festival winner and the last camera portrait of the noted French novelist, on its latest program at the Central Needle Trades Auditorium and at the Beckman Theatre. Also on the program is a survey of Charles Chaplin's Keystone comedies featuring Chester Conklin, Charley Chase, and Fatty Arbuckle . . . Metro, in connection with its "1955 Motion Picture Theatre Celebra- tion." has succeeded in getting the governors of Wisconsin and Illinois to issue proclamations designating Jarfiary as “Go to the Movies Month.” Comings and Goings: Loew’s prexy Nicholas M. Schenck and v.p. and treasurer* Charles C. Moskowilz on the Coast for product huddles . . . Elizabeth Taylor and Michael Wilding in from England . . . Director George Sidney arriving from Hollywood over the \4eekend for a month’s stay . . . Metro designer Jlelen Rose in town for a week for a gander at the new fashions . . . Warner Bros, pub-ad chief Mort Blumenstock here for homeoffice talks. Metro's "Jupiter’s Darling.” starring Esther Williams, booked into the Radio City Music Hall. She's due in Gotham next week to appear on the Ed Sullivan tv show and to publicize “Darling” . . . Van Wolf of Paramount’s homeoffice publicity department exited the company to form his own commercial film and tv packaging outfit . . . N. V. Philips Radio of Holland has received a licensing agreement for the manufacture of Perspecta stereophonic sound integrator units, bring- ing the number of manufacturers of the units throughout the world to 16 . . . Winner of the sixth annual competition for the City College Robert J. Flaherty award for “outstanding creative achievement” in the production of documentary films due this Friday (14). More than 150 entries have been received by Prof. Hans Richter, director of the college's film institute. William G. Shelton, sales v.p. of Times Film Corp., had his contract renewed through March, 1956. Got a six-month bonus, too . . . Vilko Vinterhalter, new director of the Yugoslav Information Center, introed to the press last week. The Yugoslavs are studying the possibilities of placing some of their documentaries in U.S. theatres . . . Figures showing the large percentage of foreign imports without Production Code approval going through the N.Y. censor's office are minimized by some company execs. They point out that the number of persons actually seeing these foreign films is quite small and. of equal import, it includes very few juves . . . Story departments at several of the distribs are unhappy with the ad campaigns of publishers whose novels they’ve acquired for screen treatment. Pitch is that they aren’t stress- ing what the filmeries consider the best angles for both book and film . . . Spearheading an effort to aid exhibitors in launching local "movie salutes." Metro is making a pitch to the nation’s newspapers via a full-page ad in the Jan. 15 Editor 8c Publisher. Headed "There’s News l n Them Thar Thrills!’’, the copy calls to the attention of editors that “there is a good story for possibly an editorial) in the local history ot the movie theatre in your town.” BUT KID ACTORS CROW TOO FAST By SIR HENRY L. FRENCH Director General British Film Producers Assn. London. Jan. 3. There are many differences be- tween the practices of the Ameri- can motion picture industry and the British. Some are only a ques- tion of degree. Others are more fundamental. One is complete. The American Industry does not make special entertainment films for children. The British industry does. I am not going to argue that one is right and the other wrong. But I am going to try and set down in this article, for the information of any American readers who may be interested, what the British in- dustry is aiming at in this par- ticular matter, and how it has set about its self-imposed task. The story begins with J. Wrthur Rank. In 1943-44 he added to his Organization a new department called Children’s Entertainment Films. It was realized from the first that this enterprise could not be self-supporting. Nevertheless, it did good work until Rank ran into a financial crisis largely due to the then Labour Government’s deci- sion (taken without any consulta- tion with the film industry) to im- pose an ad valorem duty of 75 r e of the value of all imported films, followed a few months later by an- other decision (also taken without I consulting the industry, to repeal the duty. Rank suffered heavy losses as a result of both the Gov- ernment’s original policy and its I sudden reversal. It was obliged to 1 make economies wherever it could and as all the world knows it has since made a wonderful recovery. But the children’s unit was brought to an end. The next stage was the establish- ment of the Production Levy j (“Eady” Fund) in 1950. Scarcely had this novel plan for supple- menting the revenue obtained by British films (including American films made in England) been put 1 into operation than a widespread demand arose for the revival of Children’s Entertainment Films under, another name and not at the expense of Rank but of the in- dustry generally. All four trade associations concerned (exhibitors, distributors, feature producers and short producers! were united in their determination to set going again the production of special en- (Continued on page 24* Break That Stereotyped Thinking! Hecht Points to Offbeat Characterizations and Treatments That Paid Off at Boxoffice They Feel Good "White Christmas” (like many a big moneymaker in the past* drew its share of unkind criticism at the start. The press notices were short of unanimous raves and some “piofessionals," i.e., those in- siders who see private screen- ings in advance, mainly in L. A. and N. Y., had reserva- tions about the film's values. Paul Raibourn, Paramount v.p., was asked how' come this musical became such a huge success. "Because it makes people coming out of the the- atres feel good." he replied. Delay Vanoni Tax, Odious to Yanks Motion Picture Export Assn, committee has obtained from the Italian government an agreement to hold off any assessments under the revived Vanoni law until mid- March. By that time, the American companies will have submittted to the Italo authorities a detailed pic- ture-per-picture breakdown on negative costs and the cost of dis- tribution in Italy for the period of 1951 through 1953. The law was passed in 1951 but had not been enforced. It would radically change the basis on which the Italians determine the taxable income of American pix released in Italy. Late in 1954. MPEA was informed that, under the Vanoni law. the Italians intended to allow a flat deduction of only 8,000.000 lira ($12,000! as the non- taxable income of any Hollywood pic in Italy. Provision was made retroactive to 1951. The two-man MPEA team which went to Rome to palaver with the Italians on the tax matter agreed to make available the individual figures as a basis on which the Italians could then make their own analysis Of what constitute a proper tax base. The statistics to be pro- vided by the U. S. companies also will establish the percentage earn- ings of their pix in Italy in relation to the world market. By WHITNEY WILLIAMS Hollywood. Jan. 11. From all indications 1954 should, be remembered as the year which saw the most daring gambles pay off, Harold Hecht. who heads Hecht-Lancaster Productions, re- ported prior to taking off for Eu- rope on a location-scouting trek for “Trapeze.” to star Burt Lancaster. “Hollywood has discovered,” he opined, "that it's guts plus glamour that represents an almost unbeat- able combination. And the discov- ery is paying off at the boxoffice.” Producers and stars alike have departed to a great extent from the pattern of “playing it safe" in order to. use unconventional ap- proaches both in selection of sto- ries and in casting. w'ith notable results, according to Hecht. This trend was indicated to a certain ex- tent, he said, when Lancaster de- parted from his customary two- fisted. virile romantic leads to play the middle-aged, ineffectual dipso- maniac in Hal Wallis’ "Come BatV Little Sheba.” “But this year,” he added, “the so-called offbeat casting trend has practically become more of a stand- ard practice.” Hecht pointed to Bing Crosby’s tour-de-force as the broken-down, has-been actor in “The Country Girl" and Jan Sterling’s deglamor- ized performance of the tramp in "The High and the Mighty.” as samples of gambles paying off. Both probably will be in the run- ning for an Oscar nomination. (Continued on page 22! Rubin Settles For $1,200, How To Handle Cary Cooper By JIAROLD HECHT In a settlement of his contract as v.p, and general counsel. Loew s, Inc., paid J. Robert Rubin $1,200,- 000 for the residual rights per- centage he held in all Metro films. Rubin, former production chief of Louis B. Mayer, and the estate of the late Irving Thalberg were also entitled to residual rights un- der a longterm arrangement. For the fiscal year of 1954, Loew’s paid the following salaries to its top executives: prexy Nicho- las M. Schenck. $224,750; v.p. Joseph Vogel. $156,429; production chief Dore Schary. $200,000; v.p. Howard Dietz. $104,286; v.p. and treasurer Charles C. Moskowitz, $156,429; v.p. Leopold Friedman, $130,357; v.p. Ben Thau. $189,383, and v.p. J. Robert Rubin. $176,816. Ike Asks More $ For D.S. ‘Publicity’ Washington, Jan. 11. A halt to further tax reductions this year, creation of a Federal Arts Commission to promote cul- tural activities, and more funds for the U. S. Information Agency were urged by President Eisen- hower last Thursday <61 in his ^tate of the Union Message. Show biz has a direct interest in all of these. Eisenhower suggested that furth- t' n .i ax cu * s riiight take place in 1955, but set his face firmly against am reductions this year, including the tax on corporate incomes. This means also that the President would doubtless veto any legisla- •»n to give further admissions tax 1 eductions, or to make any cut in . 20'' bite on night club checks. <>en Congress cut the admissions , x *f st year, it refused any help *or the niteries. ^oice of America, with its Voice 0 America and motion picture programs, needs more money to •Continued on page 65! EMPLOY AMOS HIATT ! FOR FOREIGN DEALS Amos Hiatt, a specialist in for- eign investment and exchange problems, has joined the Motion Picture Export Assn, as special assistant to the treasurer. His specific assignment will be to handle the growing number of com- pensation deals which aid the film industry in unthawing blocked funds abroad. It’s figured that, at the moment, between 15 r r and 20' "r of the in- dustry’s revenue ft'om abroad j comes into N. Y. via compensation deals. Most important areas w here such deals are currently pending are France and Japan. Hiatt recently served as chair- man of the financial committee of the International Air Transport Assn., specializing on investment and exchange problems. He had also been assistant comptroller of Pan American World Airways and regional director for the Middle and Far East of Intercontinental Hotels Corp. Among his film biz positions has been that of treasurer of RKO-Pathe companies and v.p. and director of First Division Prods. When the Hecht-Lancaster Or- ganization first set its cap for Gary Cooper to co-star with Burt Lan- caster in "Vera Cruz,” we felt much as a freshman co-ed must feel trying to date the senior football hero on her first day of school. We were a new. independent or- prize for which Lancaster was then a strong contender because of his contribution to "From Here to Eternity?" Neither would want to play second fiddle to the other. The situation seined to ache for Disraeli shrewdness. t Syllabatcd Dialog ganization preparing our first pro- duction under a seven-picture re- ! We practically wrote the script : leasing deal with United Artists, of "Vera Cruz” with a tape meas- Cooper. perennial boxoffice chain- me — an inch of dialog for pion and Academy Award winner, C’ooper. an inch for Lancaster. We was being courted by half a maintained, meanwhile, constant dozen major studios. Y\e as- t 0UC h with Cooper. By "in touch.” NEW FIVE-YEAR DEAL FOR SAM SCHNEIDER Warner Bros, veepee and top homeoffice executive Sam Schnei- der received a new five-year con- tract from the company. New pact calls for $1,750 per week plus $250 in weekly expenses. For the fiscal year ending Aug., 1954. Schneider received a total of $104,000, including expenses. as- sumed landing him would call for considerable skill and cunning, so we mapped a campaign for courting, catching and coddling him accordingly. The fact that our blandishments failed at every turn while Cooper went about quietly—disquietingly quitely—making the movie for us might comprise a comic commen- tary on the process of star-nursing. The jdke, in other words, was on us. We imagined more perils than a pickpocket at a policeman’s ball. Because Lancaster was also a co- owner of the film, it was"natural for us to assume that Cooper would j be concerned with the size and quality of his part, especially in its relation to his co-star. After all. hadn’t he won an Oscar for j “High Noon,” the very same grand j I mean we told him from time to time via cables to Paris. London. Sun Valley and Long Island that the picture was being prepared with him in mind and that we would very much like to sign him. On each occasion, he'd send back such heady, decisive messages as “that’s nice.” or "thanks a lot.” At long last, he conceded he might give us a definite answer after he had read the completed script. As soon as the writers had put their last word to it, we sent it off. Cooper, long noted for his periods of quiet, now said nothing at all. We concluded he did not like the screenplay. Therefore, we ordered a complete rewrite, post- poned “Vera Cruz,” and ahead on “Apache.” Hecht-Lancaster Opening Office in Manhattan Hecht - Lancaster Productions will establish a N. Y. office within the next month with a staff headed by Shirlee Weingarten. formerly Theatre Guild casting director. She’ll serve as liaison with the legit theatre and other story sources. II-L, incidentally, has stage pro- duction in its future. The indie film producting company plans presentation of a play in 1956. Meantime, Cooper became (Continued on page 23) Broidy Meets Huston Hollywood, Jan. 11. Steve Broidy. Allied Artists prexy, and veepees G. Ralph Bran- vent [ ton and Harold Mirisch fly to N. Y. j Friday to meet John Huston, busy ; Huddle is on his first for com- pany, “Man Who Would Be King.”