Variety (Jun 1930)

68 "VARIETY'S" PARIS OFFICE Paris Building:, 15 Boulevard des Italiens FOREIGN SHOW NEWS Cable Address: VARINEWS, PARIS Central 01-57; Louvre, 52-15 JACK HYLTON'S JAZZ GUIDING STRAVINSKY Amsterdam, June 3. Igor Stravinsky, modernistic com- poser, is going Jazzique In collabo- ration with Jack Hylton's Band which he regards most favorably as the instrumental means for the in- terpretation of hia compositions. Hylton will do with Stravinsky what Paul Whlteman did for Gershwin. The local Stravinsky Festival was SRO before an enthusiastic audi- ence a,t the Municipal theatre, al- though jress divided. The Amster- dam Modern Art Study, local col- legiate organization, organized the Stravinsky Festival. Political Scandal Behind Marriage in Berlin Berlin, June 3. The romantic aftermath of a po- litical scandal which forced the for- mer Prussian Minister Grzesinski to resign culminated In the mar- riage yesterday of the ex-Minlster to Daisy Torrens, well known Ber- lin actress. The bride figured In the scandal. Lytton's Double Event, Firstly, Knighthood London, June 3. The only person of theatrical con- nection In the King's Birthday honor list Is Henry Lytton, famous musical comedy pomediiin of Gil- bert and Sullivan fame. Lytton's stage career goes back 40 years. He was about to retire when the knighthood came to him, falling upon the same date as Jessie Matthews' divorce decree against his' son was made absolute. Fox-British Ganmont "Blue Coast'* Mild London, June 3. "The Blue Coast," opening Friday evening (31) at the Everyman the- atre, turned out to be rather an in- different affair about a young man falling In love with his youthful stepmother. Its success Is regarded as most unlikely. Bennett Scott Dies London, June S. Bennett Scott, 58, well-known composer of populat songs, died In London yesterday. Pasquin Barr Dies Sydney, June 3. Pasquin Barr, cartoonist of Inter national note, died In Auckland, New Zealand, a few days ago. He had been suffering from a lingering Illness for many months (Continued from page 7) to British control and management, the firm feels It ought to be repre- sented somewhere on the British- Gaumont board. Fox Films Is the biggest single stockholder in Brit- ish Gaumont. Fox's proposition is understood to have been handed to Messrs. Os- trerer and PV^oolf for consideration three ways. Either repurchase by the Ostrerers of the Fox by B-G; purchase by Fox of the present Os- trerer holdings; or control of B-G by Fox Films. British-Gaumoni: now is much of a family affair, df members of the board three are Ostrerers, Isidore, Mark and Maurice. Other directors are Charles Moss Woolf, William Evans, Simon Rowson, Charles Herbert Dade, Henry Andrew MIchelem, Ian PItcairn Little and Lord Lee. None represents Fox. Management Is In the hands of Charles Woolf and William Evans. Control Under present plan of control B-G Is owned 65% by the Metrop- olis and British Tjrust Co., in which controlling company Fox and the Ostrerers share equally. Each owns 49 % % of M. and B. The remaining 1% is in the name of Lord Lee, to assure British control. He is the deciding arbiter in all matters of policy and control. But with no representation on the B-G board, Fox figures nil as to voice, despite It owns 75% of the common "A" and non-voting stock also. Choice of Lord Lee was a double check for fair dealing and worked okay. It was Lord Lee who pre- vented shoving Fox Films out of the picture altogether some time back. - This was during William Fox's financial difficulty when after making a first payment for stock Interest in British Gaumont nearly defaulted afterward. There was a hot session of B-G, with only Lord Lee holding on for Fox. The affair grew a bit romantic with Fox changing owners and de- ciding to keep its buy in B-G, ar- ranged for a $10,000,000 cash credit in London. News of the money be- ing on hand was phoned Lord Lee while in the directors' iaeetlng. Ostrerers, it is said, tried to claim the agreement pact must be kept; the cash must be right on hand, but Lord Lee decided Foi Films could have 24 hours to show with the money. This Fox did, saving his previous payments, amounting to $9,000,000. Along with other conditions which Fox has asked Is that the joint management now reposing In Evans and Woolf be Increased to three, one representing Fox and one from the outside, like Lord Lee, or some one suitable to both. UNION MEN ONLY UNDER NEW CONTRACT Paris, June 3. The Olympia which let out its union pit orchestra not long ago now has offered to sign union men again under certain conditions. Conditions that the union men go to work under the usual legal ternis of contract employment. Instead of the strict regulations set down by the union. If the men decline to accept these terms the Olympia will be declared unfair and will necessarily employ a non-union pit orchestra. House is now using a stage band of jazz- Ists temporarily. Native Discs in S. A. For Columbia Records Erwin With Shubertsf Paris, May 23. Ralph Erwin, composer of "I Kiss Your Hand, Madame," prob ably coming oyer for Shuberts. THE 6th ANNUAL International Number Will Be Issued During JULY, NEXT Advertising copy at far away points from New York City should be for- warded as quickly as convenient to 46 VARIETY" NEW YORK CITY, U. S. A. Capetown, June 3. Columbia Gramophone people have their agents here making tests for a series of South African vocal- ists using native numbers in the Afrikaans tongue (langue ot native whites, particularly of Dutch ori- gin). Series is to Include records of community singing. Whole idea Is an innovation for South Africa, where phonograph records are generally in English. Sound and Quotas (Continued from page 7) language talkers, either originals or dubbed. In Paris (Joinvllle and Bil- lancourt) and London (Elstree). Paradoxically enough, these foreign- produced German versions j:e re- garded as "foreign" films, and hence the Germans are faced with abid- ing by their own contingent re- strictions. Furthermore, the German con- tingent as a contingent is ijiprac- tlcal for sound films, and if it must be amended, as Is Inevitable, It will probably be just as well killed al together. Under the present Idea, the 420 film unit Is the basis, with the theory that only half thereof, or 210 films, can be Imports. This as sumption of 420 pictures a year Is the old silent-film days. It can't hold any longer today. No more than 100 talkers will probably be turned out, which automatically kills off the old contingent basis. Run Houses The talkers, as Is happening In France and has happened in Amer Ica, are converting week-stands into run h'.uses despite everything, be- cause of the heavy business. Hence the pictures are fewer and better. The Italian situation is that they would like Rome to be the center of production. What they like and what the Fascistl will get is some thing else again, but just the same the Italian market is nothing to sneer at, according to continental observers. They have some excel leni cinemas, notably the Pitalluga houses as well as many independ- ents, and the market Is decidedly theru. In France, the arguments for Paris as the film center are many, The natural beauty of the country its centrality, etc., naturally recom- mends France. Some argue that Nice would be an even more logical production center because of Its nearest approach to Hollywood for sunchine and climatic evenness. Berlin's general activity and more prolific production output recom mends that, and the London situa tlon with the BFI (British Feder ated Industries) might necessarily force the Americans to produce at Elstree. The two amendments that the BFI propose to the British con- tingent has to do with the mini mum expenditure of $50,000 on a "foreign" film—meaning American— or else the purchase of a British film of that value. When it comes to $50,000 for the British quota film, the American will prefer to make 'em themselves and make 'em in England. And when doing so It will mc...i they may just as well make a bilingual or multilingual version right then and there. In stead of maintaining an English unit in England for a foreign-ver- sion company or companies on tlie continent. Paramount (Continued from page 6) pensatlon) becomes 'an obligatory ordeal before parking the body In a European theatre. Then how about the program, also a concession, with the patron paying two to three francs (eight to 12 cents), In France, for a booklet of ads with but a sketchy actual program. The Difference If Paramount Publix could bring home to its customers just what the average film house fan gets abroad for 21 francs (84 cents, the average admission scale to the most average of French picture houses), and compare it with the wealth of talent, service, entertainment and other trimmings for 60 and 75 cents, a $1,60 admission for the Paraniount type of show In America would be a bargain by comparison. That's of course an impractical theory but no exaggei'aitlon. The featiure, a newsreel and oc- casionally a "Mickey Mouse" ani- mated cartoon comprise the fare of the average "grands boulevards" cinemas In Paric, for example, this, of course, excepting Paramount's own house on the Boulevard des Italiens, v/here the semblance of the Broadway scheme of things obtains. Give them a Paramount orchestra overture, a Mrs. Jesse Crawford organ recital, an Horace Heldt stage band presentation, a sound newsreel and a talker feature like Buddy Rogers' "Safety In Numbers," and both the FoHes Bergere and the Casino de Paris, the biggest revue money-makers In Paris, would fold up. But what can you exjpect from a town where "Ramona" is still a popular- song, and "Noah's Ark" Is considered a pretty late film re- lease? Heidt's Pep . and' Speed Heldt's organization, unquestion- ably now among the Big Three of ultra-cyclonic staige presentations, astonishes anew with Its speed and tempo. His opening torrid "Tiger Rag" recalls his sensation at the Cafe de Paris in Monte Carlo, where the Internationalists of the world, during the Riviera season, were astounded at tl^e pep and tempo of this Californian'jazz group. As for Lobo," tlie police dog In the act, Rln-TIn-TIn's monopoly of the ca- nine calciums Is more than seriously threatened by this smooth-working dog turn. His youthful mtister, Clarence Moore, is no smaU asset to the general Heldt presentation. If they're still making barkers In Hollywood, "Lobo" is a cinch. Discounting that after a sample of European talent even a Lincoln Square show would look like a Zieg- feld production, the present Para- mount show is top-notch. Heldt also conducts the "South- ern Melodies" overture which dove- tails into a timely patriotic fan- fare. The Memorial Day aspects also colored the regular Heldt pre sentatlon which Frank Cambria con trived. This is Heldt's second week here, also unusual. Mrs. Crawford's organolog is its per usual typical topical tip-top console-ation. Abel. London. June 3 • Story is ar-uud that the ColHe>nn. ace vaude house, will become the homt of musical comedy early In the fall. Some sort of corroboration seems to appear In the fact, that Stoll has bcukcd no acts for the house beyond Aug. 1. Recent contracts contain a clause permitting the manageme^it to shift performers to any other house on the Stoll circuit. If the Coliseum goes legit, It is likely Stoll will take back the Al- hambra and resume vaude policy there. Coliseum seats more than 3,000. With its revolving stage it would be suitable for huge spectacular pro- ductions besides making it possible to operate at medium prices. Hollywood VS. Europe (Continued from page 6) directed by Jacques Feyder in Holly- wood with Andre Luguet, the Com- edie Francaise star, evidences the latter's technical superiority, but P-N-Menjou's box-offlce superiority Is something else again. • Whether production for the for eign market will be forced to Eu rope or can be retained in Holly wood is something which only the trend of the trade will tell. It is conceded now that you can't make 'em laugh 6,000 miles away in Hollywood, i. e., the Hollywood tech nlque can never conceivably antl consistently tickle the risibilities of the continental market. They can do It only with the slapstick or pantomimic art, but with talkers what they are, and dialog the means of motivation only, the atmosphere of the language of the country for which you're producing will do the trick, The Difference The Menjou talker proves that, to begin with the saucy French theme of an Illegimate son by a former escapade turning up into Mr. and Mrs. Menjou's household and the screen, Mrs. Menjou calmly ac cepting that young man without any obvious alarm at her newlyrspouse's laxness in the past, is typically French. In America we'd have-made the unsuspected son the offspring of a former marriage; in France It tickles the thought more to have him what he is depicted rather than Hays-ize him Into a legal progeny On the other hand, the Hollywood technique Is something Europe can't deny. It couldn't deny it in the past and similarly now, although In time the parallel may not hold so well, After all, the French theatre is of Talk of Coliseum to Go Musical Comedy in Fall—Ace Vaud House HARRY JOLSON OJL IN LONDON DESPITE AL London, June 3. Harland Dixon, assisted by Au- drey Allen, both from the Ill-fated Lec Ephralm production, "Heads Up," pleased in the new Coliseum bill. Harry Jolson, ballyhooed on his kinship to the noted Al, went over satisfactorily, although the boost- ing of the family tie may not have been of great value here. Chefalo, Italian magician, assisted by eight midgets and a giant, held the stage 40 minutes In legerdemain and illusions of average merit. In Paris Paris, May 22. Julia Lydig Hoyt, Louis Calhern, Giovanni Martinelli, Maria Kuren- ko, Wllhelifn Karl von Halm^r, Paul Kochanskl, Jean BedettI, Marian -Degonnitch. Adele Astair, Charles Murray, Edna Ferber, O. O. Mc- Intyre, Peggy Hopkins Joyce, Mer- rlal Abbott, Frank Littel, E. Ray Goetz, Norman Thomas, WlUa Gather, Mr. and Mrs. A. J. Balaban. Mr. and Mrs. I. Balaban, Ernest Hutcheson, Oscar I. Wagner. David Selznick and'wife (former- ly Irene Meyer), Miss I. A. Wylie, H. J. Ennever. Valda Snow, Mar- guerite Beckett, Nlla B. Smith, Charles Levlne. O. B. Kent, Mabel Boll, Al Szekler, Harry Blackman SeU. ancient lineage. The French play- wright—and the French idea holds true for the Italian and the Span- ish and the German theatre as well —has been always expert in build- ing situations, in creating suspense and dialog. The talker is neither a picture (in which the foreign producer has £Qways been deficient) nor yet a play (where he excels), and it is very likely that the combination of both, if technically well-treated, may give the foreign-made film a better in- ternational opportunity. Faith in European Productions As is. Paramount already believes in European production. Warners plan ditto in Germany. Joe Brandt was in Germany and made 'similar arrangements with Tobis on behalf of Columbia. Metro is strong for Hollywood and didn't click any too well with its "Spectre Vert"—de- spite the French star and director —and may be forced to Europe; ditto Fox which already has some such ideas for England. For the present, Laudy Lawrence for Metro in Europe says Metro will never produce on the Continent; that its sound-synchronized ver- sions will suffice Internationally and that four talkers a year will carry the rest of their product. Adolph Zukor says that Europe doesn't want (1) synchonlzed stuff, especially the Latin temperament which Is opposed to anything mu- sical, which is mechanical or "can- ned"; (2) Europe doesn't want Eng- lish talkers with superimposed "linguistic translations; and (3). even the dubbed dialog feature is out. Americans Who Ilnve Flayed LONDON Always Kecomniend Coventry Court Hotel Wliltoomb Street, Leicester S(i. Phone Ger. 7015. Telenrrams Covon- court Wesimnd I^ndon Stay There Yourself and ne Convinced