Variety (January 1958)

io nmnNATiONAi 'VAtlSTY'S* LONDOM OPFICI t 1»« Wiitin,> fiiw, Trifiliir Squw Spain s Own Production Nil; in January, '5? Madrid, Jan. 28. + A financial crisis has again de¬ scended on Spanish film producers/ Reports from Barcelona as in Ma¬ drid underscore standstill in the. industry. First new year project has yet to he registered although at this date, last year, five films had already entered the' *57 pro¬ duction lists. Principal reason forwarded here for the failure, to produce is that Sindicato loans are not available. {Sindicato credit, of between 25% and 30% of pic budget is. basic feature of government film pro¬ tectionism without which majority of film-makers cannot operate. Observers here relate depleted Siiidicato coin to the continued crisis of goveernffient’s production aid fund which not only supplies credits but a film completion re¬ bate directly to producers varying from 30% to .50% Of negative pic cost as determined, by a govern¬ ment-industry classification board. Government loaned production fund 25,000,000 pesetas ($550,000) last Oct., but sources here say amount was quickly consumed by outstanding rebate obligations due producers. There seems little doubt that Spanish film economy has been out of tune for the past nine months. Suspension of -Motion Picture Ex¬ port Assn, product, with substan¬ tial resulting drop of production fund pesetas from steep U. S. im¬ port fees has crippled aid coffers. Current production halt paired with widespread film exhib dis¬ content are grim factors facing the Spanish film industry this week. Gina Action Vs. Rizzoli Widens Rome, Jan. 21. The Gina Lollobrigida-Angelo Rizzoli court case continues to gain momentum in and out of local film circles. Two new elements have just been added to the fracas: theItalian Producers’ Assn. (ANICA) has officially deplored the actress’ action In publicizing the fight, while actor Lex Barker has filed suit in Roman courts against Milko 'Skofic, husband of the actress. Bar¬ ker claims personal insults were made by Skofic. Sharply worded and unprece¬ dented ANICA communique sided with producer Rizzoli, whose “Im¬ perial Venus” they claimed an im¬ portant and well organized pro¬ duction, against the actress. Letter deplores Miss Lollobrigida's actioq in breaking off her contract with-, out submitting to proposed nego¬ tiations and for her decision to publicize the matter. ANICA note again warned all its members that in times of difficulty such as the present for the entire industry, efforts must be redoubled to realign salaries (of . actors) to the changed film economy of the moment as well as to insist on a better respect of agreed, contracts. Barker, on the other hand, filed his suit through bis local lawyer, Giovanni Ozzb, taking objection to remarks attributed to Skofic by an article in a Rome evening paper. Both verbally and in writing, Sko¬ fic has repeatedly denied making these remarks. Rizzoli-Lollobrigida case is up for initial hearing Feb. 5. Menuhin to Brussels Frankfurt, Jan. 28. ‘ Yehudi Menuhin, who is due to concert-tour Germany with the Vienna Philharmonic Or¬ chestra in March, is set to open at the Brussels World Fair in April. There, he’ll offer a new American work, Ross Lee Fin¬ ney’s “Chromatic Fantasy for Violin.” Sees Future Jap German *56 Hit Record To Be Made Into a Pic Frankfurt, Jan. 28. Usually it’s the title song of a film that becomes popular. But there’s an unusual switch in the making in Germany this year. Gloria Films has bought the rights to the 1956 big record seller, “Heimatlos” (Homeless), which was the No. 1 recording of. German schmaltz singer Freddie on the Deutsche Grammophone label. Gloria will make a film titled "Heimatlos,” with music by Lotar Olias and Hans Moessner, who wrote the music for the platter. Film is. sff^or, release program. Exceptional Fibi Setup Tokyo, Jari. 21. Shizue Takase, a man who pre¬ pares the Japanese titles for about half of the imported American films, believes the day is not far off when U. S. actors will be mouthing Japanese dialogue, dubbed, that is. He is watching the current experiment here of Metro in having the “The Invisible Boy” dubbed. It’s the first such experiment in recent years after past failures. “I can’t see why dubbing can’t be done in Japan as it Is in Eu¬ rope,” Takase said. “The strongest opposition to it right now is a feel¬ ing that it wouldn’t sound right. But I’m rather sure that once the Japanese audiences get used to. it* it would prove popular.” Takase saw a greater future for Japanese product dubbed into Eng¬ lish for export. Takase heads an outfit called Central Production Pool whose services often include editing. Lat¬ ter makes him an influence on se-. quences of U. S. films to be de^ | leted for Japanese audiehces. He doesn’t always take the initiative, but his recommendations hold Weight with Yank managers here. Those hit most strongly by the cutting are pictures' about the Pacific War. In most cases, they call for some editing in order not to bMt the feelings on the Japanese. As Takase points out, because the Hollywood production code. Is much Stronger than that of Japan, he doesn’t have to worry too much about deletions on moral grounds. Showing bare bosoms on Japanese screens, for example, is not uncom¬ mon. ‘ But Certain scenes of violence are hit by Japanese censorship. A. switchblade knife is taboo. Local snipping is unofficial here, but distribs usually adhere to recom¬ mendations Of the committee for the Motion Picture Code of Ethics, an offshoot of Eireh, It was not until about a year ago that the U. S. majors joined this body. HKth Chairman Serving Rome1, Jan. 14. The “exceptional” film contro¬ versy is back in limelight this week following the announcement that Nicola DePirro has consented to preside over .the committee charged with voting oh the special rental status. Though named to the post last year, DePirro never took office because he felt that his twin functions as committee topper and Government Entertainment chief were incompatible. DePirro’s absence from commit¬ tee meetings soon helped develop" an jmpasse in voting on candidates for: this Tental status, which allows the pic,, if approved, ceiling-free rental negotiations. BFockihg Of votes was also aided by an exhib block, which automati¬ cally voted against candidates in an attempt to further its fight for lower, rentals, while the producer element in the committee generally voted in favor of “exceptionality.” DePirro’s Vote, in each case, would have been deciding. Move was . made following a let¬ ter from Government Undersecre¬ tary Giuseppe Resta, asking him to reconsider and to accept the post “at least for the duration of the current film season” and on an experimental basis. The tieup developed here after only one film, “10 Commandments” (Par) had been approved. Two pix, “Sea Wall” (DeLaurentiis-RankColumbia) and “Pride and Passion” (UA), are waiting for a deciding vote following a screening last year. Three. other pix, “Sayonara” (WB), “Bridge oh River Kwai” (Col), and an Italian-made, “The Girl and the Palio,” have still to be screened by the elite group. Big U.S. Loan to India, Now Pending, Likely To Aid Yank Distrib There Madras, Jan. 21. The announcement that the U.S. would loan $225,000,000, prospects for foreign pictures shape up bet¬ ter here; Considerable leniency has been shown to the Motion Pic¬ ture Producers Assn. at Bombay for Import of photographic and other goods, though specifically limiting it to members of the As¬ sociation. Current opinion is that the gov¬ ernment of India would allow the import of at least 50% of previous license quota held by. each foreign distributing company. Some envision that even 75% may be allowed entry. It is under¬ stood here that remittances to for¬ eign homeoffices would be limited to 12%% of total annual earnings -of each company in India. and more than 50,000. copies.’ Reich Orchestras, Vienna Acad Choir, Set by Mertens Concert events of the coming season already .cast their shadows via Andre ' Mertens of Columbia Artists Management. His array of set and/or negotiating deals in¬ clude a six-week return visit (far West as . Chicago) of the Stuttgart Kammerorchestra (15 men) under Karl Muenchinger and a projected 1959 third U. S. tour Of the big Berlin Philharmonic. In addition to the Mertens-created “Vienna on Parade,” now touring the States, which will be invited to come again, Columbia has contracted the 26 voice Vienna State Academy Choir for 10 weeks, for a tour, to California. Among a variety of new solo at¬ tractions Erika Keoth, 26 year old German coloratura, Will be flown to the Hollywood Bowl next August for a single U. S. date (and debut) between Salzburg and Munich. FrenCh military is furloughing violinist Christian Ferras to make a three-week tour of U. S. and Canada in the fall and the Hun¬ garian escapee, Gyorgy Cziffir, will arrive for piano concerts in No¬ vember. Two Met Opera personages, tenor Flaviano Labo and basso FernandO .Corena will play concerts for Columbia and Guiletta Siraionato will be routed in and around the Chicago Opera. Crawley Updates Catalog Of Cuffo Documentaries Ottawa, Jan. 28. Crawley Films Ltd. has issued a 24^page directory of sources Of free 16m sponsored Canadian mo¬ tion pictures. . It lists 295 sources from which 11,000; films are -avail¬ able without charge. This directory, started h\ 1952, _ Jijs. gone through thre^ £^^oi^sJ.jij<^ies to; be held here eFob ‘AngryMen,’ ‘Ram/ ‘King’ Up for Italo Cm Prize Rome, Jan. 21. Two Yank pix are among the top contendere for the Silver Ribbon award to the best foreign film of the year, prize given by the Italian Film Critics Assn, and recognized as top "local kudo. Winner in this category will be selected from “12 Angry Men” (UA); “Hatful of Rain” (20th),. and “King in New York” (Ciheriz). "Hatful” has al¬ ready been awarded the best for¬ eign pic award at the Venice Fes¬ tival of 1957* Running neck-and-ncck for the Ribbon as best Italian pic of 1957 are “Cabiria” (DeLaurentiis) and “White Nights” (Vides). Final vot¬ ing will, be announced at cere ruary. Tito as Paris Arts Tatron? By WOLFE KAUFMAN Paris,. Jan. 28. An important new slant may be given to international “cultural exchange” programs via a backstage maneuver currently being studied by Yugoslav and French officials. The first actual result if it works, would be for-Marsball Tito and his entourage to visit Paris this summer at the same time as several Yugo stage produc¬ tions are on exhibit at the Sarah Bernhardt Theatre. As has been done for some years nOw, the Sarah Bernhardt Theatre will have, a parade of theatrical offerings from a dozen or so different nations in its annual Theatre Festival starting late March, England, Italy, Sweden, Spain, Argentina, both Germany and Israel have agreed to send troupes. The United States is send¬ ing Ballet Theatre and possibly two plays, Russia has tentatively agreed to send a troupe or two, still unqhosen. And Yugoslavia said it would send either one or three troupes, depending on some current discussions. These troupes for the Festival always come' as is, complete with actors, technicians, scenery and costumes. The originating coun¬ tries always get the transportation tab picked up by the native, gov¬ ernments on the ground of “cultural exchange.” But the Yugo¬ slavs now have come up with the thought that this can be spread for greater significance.' Thus, they reason, if Tito should “just happen by accident” to be in Paris at the same time, it would turn a mild “cultural gesture” into a politically important move.. So, if it goes through, there will be three Yugo troupes. Otherwise just one. American Counterpart; Marton : Yank Films Still Pace Swedish Market Albeit Foreign Pictures Gain Stockholm, Jan. 21. American ■ films still dominate • the Swedish market, no other coun¬ try having as many films released here in 1957 as the U. S. But com¬ pared with figures of four to five years ago, European films have started to overtake to improve their status.* Usually, 65% to 70% of all Stockholm preeming is by product of American origin But last year, Yank films reached only 48% of all pix shown. Films from 15 countries were exhibited at Stockholm first-runs last year. The six major cuontries getting dates were led by the U, S. with 179 films. Second was Great Britain, with 53, followed with France, 49; Sweden, 30;* Germany, last year. The six major countries Greece is a newcomer to Sweden. Its “Barefoot Battalion” (in Eng¬ lish version) islhe first Greek fea¬ ture pic playing Stockholm firstruns. Interest In Russian films seems to be. at rock bottom, with only one release during 1957, against be¬ tween five to 10 annually previ¬ ously. There were 370 films preemed in Stockholm last year. Compared with othenScandinavian countries, Helsinki (Fi n 1 a n d) topped the list with 409 preems (209 Hollywood pix). Swedish Censors Show Politics in New Bans Stockholm, Jan. 21. The Swedish Censorship Board: had politico charges hurled against it again in 1957, with four films banned because of “political rea¬ sons.” Three of them Were shorts from Israel and Egypt, and accord¬ ing to the censors, they were too partial. The titles are “Egypt To¬ day,” “The Law of. Israel” and “Port Said.” The American film, “The Girl in Kremlin” (U), also was banned because of the Soviet angle. Total of 14 films was given white seal (totally banned) by the Swed¬ ish censors last year. Of these; the Gorman production, “Die Halbstarken,” later was given an okay after some cuts. “No Orchids for Miss Blandish” (British) was pre¬ sented to the' censors for the sec¬ ond time after some scissoring, but was still rated “too cruel for Swedish audiences.’* Ill, Hy Chapman Quits ; Minneapolis, Jan. 28. Becaiise of ill health, Henry J. (Hy) Chapman, long-time Colum¬ bia branch manager here, , is re¬ tiring and will be succeeded by Byron Shapiro, transferred to Min¬ neapolis from the St. Louis branch. Chapman recently suffered a heart attack and just was released from the Northwest Variety club’s ,U.i 9f Mitw«sp$a iheari. hospitaL Jfr I is recuperating at home. Paris, Jan. 28. George Martoy, 20th CenturyFox rep for European properties and a private play and literary agent, feels that the American author is to be pitied when it come* to rights and protections in. com¬ parison with the French authors. According to Marion the Ameri . can author is over-organized, overmechanized and over-legalized, but he is poorly protected. He has an agent, a business manager, a lawyer and a psychoanalyst; If he is a dramatist he has the Authors League and if he is Writing for films he has the Screen Writers Guild. The Gallic counterpart has no agent, no lawyer, no business man¬ ager, no head doctor, no gasoline and no heating; and is tied up only with the French Society of Au¬ thors. They safeguard his . moral rights and watch over any attemp¬ ted tampering with his works. the American scrivener, from a play, gets a sliding scale of royal¬ ties from 7%% to 10% of the gross. The. legit producer also has rights to 49% of any film sales of the legit rights, and also takes a .25% cut of Subsidiary gains such as foreign sales. Film rights are given for the duration of copyright With allowances for renewal if desired. 12% Of The Gross The French playwright, by law, gets 12% of the gross receipts. His. producer has no share in any film sales, foreign residuals or any other adaptions of the work in question. Film rights are only good for a maximum duration of 10 years. . As for budding legit writers, in France if a producer decides to do a first play the government, through its Cultural Ministry, will put up 50% of the operating nut. In the U.S. the newcomer gives his work to an . agent, and if a pro¬ ducer likes it he will take an option and go through the painful process, of looking for backers and angels. • Play production costs in France average about $15,000 to the $80,000 Of launching an . American venture. Weekly grosses in the U.S. average about $25,000 while in Paris they can fluctuate from $25,000 to $7,500 depending oil theatre size and hit values. “Tea and Sympathy,” with Ingrid Berg¬ man, took in weekly $25,000 at the 1,200-seater Theatre De Paris,. Marcel Achard’s sock “Patate” got only a weekly $13,000 at the 600seater Theatre Saint Georges, and “The Love of Four Colonels’* grossed $7,500 at the 400-seater Fontaine. Marion opines that the success¬ ful French author is a little better off than his American colleague, and the unsuccessful one is just as poor, or even a littler poorer, than the American loser. Marton also claimed that U.S. legit pro¬ ducers usually take only the estab¬ lished hits for Broadway and always demand film rights also. This can add up to a loss for a Gallic writer who, with a hit and film rights, can do better on his own market. However, the lure of the U.S. big money is always blind¬ ing and the Gallic writers still have ithejr eye on Broadway and Holly¬ wood.